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It’s November 1991. Nirvana’s in the tape deck, George H. W. Bush is in the White House, and movie-obsessed college student Charlie Jordan is in a car with a man who might be a serial killer.

Josh Baxter, the man behind the wheel, is a virtual stranger to Charlie. They met at the campus ride board, each looking to share the long drive home to Ohio. Both have good reasons for wanting to get away. For Charlie, it’s guilt and grief over the shocking murder of her best friend, who became the third victim of the man known as the Campus Killer. For Josh, it’s to help care for his sick father—or so he says.

The longer she sits in the passenger seat, the more Charlie notices there’s something suspicious about Josh, from the holes in his story about his father to how he doesn’t want her to see inside the trunk. As they travel an empty, twisty highway in the dead of night, an increasingly anxious Charlie begins to think she’s sharing a car with the Campus Killer. Is Josh truly dangerous? Or is Charlie’s jittery mistrust merely a figment of her movie-fueled imagination?

One thing is certain—Charlie has nowhere to run and no way to call for help. Trapped in a terrifying game of cat and mouse played out on pitch-black roads and in neon-lit parking lots, Charlie knows the only way to win is to survive the night.

Now: On the verge of marriage and a fresh start, thirty-eight year old Charlie Lewis finds that he can’t stop thinking about the past, and the events of one particular summer.

Then: Sixteen-year-old Charlie Lewis is the kind of boy you don’t remember in the school photograph. He’s failing his classes. At home he looks after his depressed father—when surely it should be the other way round—and if he thinks about the future at all, it is with a kind of dread.

But when Fran Fisher bursts into his life and despite himself, Charlie begins to hope.

In order to spend time with Fran, Charlie must take on a challenge that could lose him the respect of his friends and require him to become a different person. He must join the Company. And if the Company sounds like a cult, the truth is even more appalling: The price of hope, it seems, is Shakespeare, Romeo and Juliet learned and performed in a theater troupe over the course of a summer.

Now: Charlie can’t go the altar without coming to terms with his relationship with Fran, his friends, and his former self. Poignant, funny, enchanting, devastating, Sweet Sorrow is a tragicomedy about the rocky path to adulthood and the confusion of family life, a celebration of the reviving power of friendship and that brief, searing explosion of first love that can only be looked at directly after it has burned out.