Clay Jenkins returns home from school to find a mysterious box with his name on it lying on his porch. Inside he discovers 13 cassette tapes recorded by Hannah Baker-his classmate and crush-who committed suicide two weeks earlier.On tape, Hannah explains that there are thirteen reasons why she decided to end her life. Clay is one of them. If he listens, he'll find out how he made the list.Through Hannah and Clay's dual narratives, debut author Jay Asher weaves an intricate and heartrending story of confusion and desperation that will deeply affect teen readers.

From the author of the award-winning novel Let the Great World Spin and TransAtlantic comes an eponymous novella and three stories that range fluidly across time, tenderly exploring the act of writing and the moment of creation when characters come alive on the page; the lifetime consequences that can come from a simple act; and the way our lives play across the world, marking language, image and each other.Thirteen Ways of Looking is framed by two author’s notes, each dealing with the brutal attack the author suffered last year and strikes at the heart of contemporary issues at home and in Ireland, the author’s birth place.Brilliant in its clarity and deftness, this collection reminds us, again, why Colum McCann is considered among the very best contemporary writers.

Short listed for the Richard & Judy Book Club 2007. An uplifting story set in Los Angeles about one man's effort to bring himself back to life. Richard is a modern day everyman; a middle-aged divorcee trading stocks out of his home. He has done such a good job getting his life under control that he needs no one. His life has slowed almost to a standstill, until two incidents conspire to hurl him back into the world. One day he wakes up with a knotty cramp in his back, which rapidly develops into an all-consuming pain. At the same time a wide sinkhole appears outside his living room window, threatening the foundations of his house. A vivid novel about compassion and transformation, "This Book Will Save Your Life" reveals what can happen if you are willing to open up to the world around you. Since her debut in 1989, A.M. Homes has been among the boldest and most original voices of her generation, acclaimed for the psychological accuracy and unnerving emotional intensity of her storytelling. Her keen ability to explore how extraordinary the ordinary can be is at the heart of her touching and funny new novel, her first in six years.

On a beach in the Dominican Republic, a doomed relationship flounders. In the heat of a hospital laundry room in New Jersey, a woman does her lover’s washing and thinks about his wife. In Boston, a man buys his love child, his only son, a first baseball bat and glove. At the heart of these stories is the irrepressible, irresistible Yunior, a young hardhead whose longing for love is equaled only by his recklessness-and by the extraordinary women he loves and loses: artistic Alma; the aging Miss Lora; Magdalena, who thinks all Dominican men are cheaters; and the love of his life, whose heartbreak ultimately becomes his own. In prose that is endlessly energetic, inventive, tender, and funny, the stories in This Is How You Lose Her lay bare the infinite longing and inevitable weakness of the human heart. They remind us that passion always triumphs over experience, and that “the half-life of love is forever.”

This experimental work is an enthralling amalgamation of anecdotes, aphorisms, and quotations from writers and artists, interspersed with self-reflexive comments by the Writer who has assembled them. As the title implies, this is certainly not a novel — not in the general sense of the term. And yet a reader who follows the flow will gradually notice certain novelistic conventions insinuating themselves. Writer — as the narrator refers to himself — is tired of inventing characters and subjecting them to the rigors of plot development. Instead, historical personages from Dickens to Beethoven recur throughout the book: They re born, create, speak fondly or acidly of their own work and the work of others, and then die. (Death, in fact, is a major concern of Writer.) Works of art interlock and interrelate; diary entries, attributions, and critical comments jostle for position. But what at first appear to be random bits of historical trivia ultimately come together with a narrative logic: a beginning, middle, and end. So while Markson has jettisoned the standard conflict-and-resolution pattern of a novel, he nevertheless fashions a literary journey that gets somewhere. Indeed, the book s conclusion will come as an intensely moving surprise to those who reach it.Does Writer even exist in a book without characters? the narrator wonders. Passing through a period of aging and self-doubt, Writer looks deeply inside himself over the course of the book and worries about his very purpose. The real question hovering in the margins of this beguiling work is, Why do I write? Many an artist suffers under the burdens of posterity, the sinking feeling that words and works will fade with the passage of time. Eventually, though, this particular Writer answers in a qualified affirmative, for he realizes himself to be the main character in his own life. That which is not a novel, he implies, is life itself; creating art is what the artist does to live. In the end, out of a shared sense of mortality and its frailties and beauties, we can only agree. (Jonathan Cook)

David Markson was a writer like no other. In his novels, which have been called “hypnotic,” “stunning,” and “exhilarating” and earned him praise from the likes of Kurt Vonnegut and David Foster Wallace, Ann Beattie and Zadie Smith. Markson created his own personal genre. With crackling wit distilled into incantatory streams of thought on art, life, and death, Markson’s work has delighted and astonished readers for decades.Now for the first time, three of Markson’s masterpieces are compiled into one page-turning volume: This Is Not a Novel, Vanishing Point, and The Last Novel. In This Is Not a Novel, readers meet an author, called only “Writer,” who is weary unto death of making up stories, and yet is determined to seduce the reader into turning pages and getting somewhere. Vanishing Point introduces us to “Author,” who sets out to transform shoeboxes crammed with note cards into a novel. In The Last Novel, we find an elderly author (referred to only as “Novelist”) who announces that, since this will be his final effort, he possesses “carte blanche to do anything he damn well pleases.”United by their focus on the trials, calamities, absurdities and even tragedies of the creative life, these novels demonstrate David Markson’s extraordinary intellectual richness — leaving readers, time after time, with the most indisputably original of reading experiences.

The debut novel from Joseph O'Neill, author of the Man Booker Prize longlisted and Richard & Judy pick, ‘Netherland’.James Jones is slipping steadily through life. He has a steady job as a junior partner at a solicitor's firm, a steady girlfriend and a steady mortgage. Nothing much is happening in Jones's life but he really doesn't mind — this is exactly the way he likes it.Michael Donovan, meanwhile, is a star — a world-class international lawyer and advocate — he's everything Jones wanted to be and isn't. Jones was once Donovan's pupil and, for a while, it looked like he too would make his name — but he left that high-powered world behind a long time ago, or so he thought.One day Jones reads in the paper that Donovan has collapsed in court — then, out of the blue, Donovan contacts him; he has a job he needs Jones to work on…Joseph O'Neill's debut is wonderfully clever and comic novel — about ambitions and aspirations and the realities that they inevitably collide with.

A young man in a dark depression roams the vast, formless landscape of a Dublin industrial park where he meets a vagrant in the grip of a dangerous ideology. A woman fleeing a break-up finds herself taking part in an unusual sleep experiment. A man obsessed with Nietzsche clings desperately to his girlfriend's red shoes. And whatever happened to Killian Turner, Ireland's vanished literary outlaw?

From Yannick Murphy, award-winning author of The Call, comes a fast-paced story of murder, adultery, parenthood, and romance, involving a girls' swim team, their morally flawed parents, and a killer who swims in their midst.In a quiet New England community members of the swim team and their dedicated parents are preparing for a home meet. The most that Annie, a swim-mom of two girls, has to worry about is whether or not she fed her daughters enough carbs the night before; why her husband, Thomas, hasn't kissed her in ages; and why she can't get over the loss of her brother who shot himself a few years ago. But Annie's world is about to change. From the bleachers, looking down at the swimmers, a dark haired man watches a girl. No one notices him. Annie is busy getting to know Paul, who flirts with Annie despite the fact that he's married to her friend Chris, and despite Annie's greying hair and crow's feet. Chris is busy trying to discover whether or not Paul is really having an affair, and the swimmers are trying to shave milliseconds off their race times by squeezing themselves into skin-tight bathing suits and visualizing themselves winning their races.But when a girl on the team is murdered at a nearby highway rest stop-the same rest stop where Paul made a gruesome discovery years ago-the parents suddenly find themselves adrift. Paul turns to Annie for comfort. Annie finds herself falling in love. Chris becomes obsessed with unmasking the killer.With a serial killer now too close for comfort, Annie and her fellow swim-parents must make choices about where their loyalties lie. As a series of startling events unfold, Annie discovers what it means to follow your intuition, even if love, as well as lives, could be lost.

From a startling new voice in Irish fiction, a mesmerizing tale of a young man on the run in Dublin.Anthony Sonaghan is hiding out in an old tenement house in Dublin: he fears he has reignited an ancient feud between the two halves of his family. Twenty-first-century Dublin may have shopping malls and foreign exchange students, but Anthony is from an Irish Travelling community, where blood ties are bound deeply to the past. When his roguish uncle Arthur shows up on his doorstep with a missing toe, delirious and apparently on the run, history and its troubles are following close behind him-and Anthony will soon have to face the question of who he really is.In prose of exceptional vividness, Gavin Corbett brings us a narrator with the power to build a new, previously unimagined world. His language, shot through with dreams and myths, summons a vision of Ireland in which a premodern spirit has somehow persisted into contemporary life, brooding and overlooked. Funny, terrible, unsettling, fiercely unsentimental, This Is the Way is haunted by some of Ireland's greatest writers even as it breaks new ground and asks afresh why the imagination is so necessary to survival.

With her husband Bernard two years in the grave, seventy-nine-year-old Harriet Chance sets sail on an ill-conceived Alaskan cruise only to discover through a series of revelations that she’s been living the past sixty years of her life under entirely false pretenses. There, amid the buffets and lounge singers, between the imagined appearance of her late husband and the very real arrival of her estranged daughter midway through the cruise, Harriet is forced to take a long look back, confronting the truth about pivotal events that changed the course of her life.Jonathan Evison — bestselling author of West of Here, The Revised Fundamentals of Caregiving, and All About Lulu—has crafted a bighearted novel with a supremely endearing heroine at its center. Through Harriet, he paints a bittersweet portrait of a postmodern everywoman with great warmth, humanity, and humor. Part dysfunctional love story, part poignant exploration of the mother/daughter relationship, nothing is what it seems in this tale of acceptance, reexamination, forgiveness, and, ultimately, healing. It is sure to appeal to admirers of Evison’s previous work, as well as fans of such writers as Meg Wolitzer, Junot Diaz, and Karen Joy Fowler.

A man builds a tree house by a river, in anticipation of the coming flood. A sugar-beet crashes through a young woman's windscreen. A boy sets fire to a barn. A pair of itinerant labourers sit by a lake, talking about shovels and sex, while fighter-planes fly low overhead and prepare for war.These aren't the sort of things you imagine happening to someone like you. But sometimes they do.Set in the flat and threatened fenland landscape, where the sky is dominant and the sea lurks just beyond the horizon, these delicate, dangerous, and sometimes deeply funny stories tell of things buried and unearthed, of familiar places made strange, and of lives where much is hidden, much is at risk, and tender moments are hard-won.

This beautifully written novel, by one of South Africa's most celebrated writers, has an almost hypnotic power that draws the reader into one woman's life. As a post-apartheid novel, This Life considers both the past and future of the Afrikaner people through four generations of one family. In an elegiac narrator's tone, there is also a sense of compulsion in the narrator's attempts to understand the past and achieve reconciliation in the present. This Life is a powerful story partly of suffering and partly of reflection.

"I had no illusions about love… It came, it went, it left casualties or it didn't. People weren't meant to be together forever, regardless of what the songs say." Remy doesn't believe in love. And why should she? Her romance novelist mother is working on her fifth marriage, and her father, a '70s hippie singer, left her with only a one-hit wonder song to remember him by. Every time Remy hears "This Lullaby," it feels like "a bruise that never quite healed right." "Wherever you may go / I will let you down / But this lullaby plays on…" Never without a boyfriend, Remy is a compulsive dater, but before a guy can go all "Ken" on her (as in "ultra boyfriend behavior") she cuts him off, without ever getting close or getting hurt. That's why she's stunned when klutzy, quirky, alterna-band boy Dexter inserts himself into her life and refuses to leave. Remy's been accepted to Stanford, and she plans on having her usual summer fling before tying up the loose ends of her pre-college life and heading for the coast. Except Dexter's not following Remy's tried-and-true rules of break-up protocol. And for the first time, Remy's questioning whether or not she wants him to.Author Sarah Dessen's ability to write novels that are both crowd pleasers and literary masterpieces of YA fiction is showcased beautifully in This Lullaby. Subtle yet completely absorbing, Lullaby is peopled with breathtakingly believable, three-dimensional characters, the very best of which is the bitter, broken Remy herself. An original love story about learning to love yourself first.***This modern-day romance narrated by a cynical heroine offers a balance of wickedly funny moments and universal teen traumas. High school graduate Remy has some biting commentary about love, including her romance-writer mother's betrothal to a car dealer ("He put one hand on my shoulder, Dad-style, and I tried not to remember all the stepfathers before him that had done the same thing… They all thought they were permanent, too") and her brother's infatuation with self-improvement guru Jennifer Anne. But when rocker Dexter "crashes" into her life, her resolve to remain unattached starts to crack. Readers will need to hold on to their hats as they accompany Remy on her whirlwind ride, avoiding, circling and finally surrendering to Cupid's arrows. Almost as memorable as her summer romance with a heartwarmingly flawed suitor is the cast of idiosyncratic characters who watch from the sidelines. There's the trio of Remy's faithful girlfriends, all addicted to "Xtra Large Zip" Diet Cokes practical-minded Jess, weepy Lissa, and Chloe, who shares Remy's dark sense of humor as well as Dexter's entourage of fellow band members, as incompetent at managing money as they are at keeping their rental house clean. Those expecting a Cinderella finale for Remy will find a twist consistent with the plot's development. Contrary to any such implication in the title, this one will keep teens up reading. Ages 12-up.

Dorte is twenty and adrift, pretending to study literature at Copenhagen University. In reality she is riding the trains and clocking up random encounters in her new home by the railway tracks. She remembers her ex, Per — the first boyfriend she tells us about, and the first she leaves — as she enters a new world of transient relationships, random sexual experiences and awkward attempts to write.

At the turn of the century, Nathan Walker comes to New York City to take the most dangerous job in the country. A sandhog, he burrows beneath the East River, digging the tunnel that will carry trains from Brooklyn to Manhattan. In the bowels of the riverbed, the sandhogs — black, white, Irish, Italian — dig together, the darkness erasing all differences. Above ground, though, the men keep their distance until a spectacular accident welds a bond between Walker and his fellow sandhogs that will both bless and curse three generations.

A debut novel about Thomas Jefferson and Sally Hemings, in whose story the conflict between the American ideal of equality and the realities of slavery and racism played out in the most tragic of terms.Novels such as Toni Morrison’s Beloved, The Known World by Edward P. Jones, James McBride’s The Good Lord Bird and Cloudsplitter by Russell Banks are a part of a long tradition of American fiction that plumbs the moral and human costs of history in ways that nonfiction simply can't. Now Stephen O’Connor joins this company with a profoundly original exploration of the many ways that the institution of slavery warped the human soul, as seen through the story of Thomas Jefferson and Sally Hemings. O’Connor’s protagonists are rendered via scrupulously researched scenes of their lives in Paris and at Monticello that alternate with a harrowing memoir written by Hemings after Jefferson’s death, as well as with dreamlike sequences in which Jefferson watches a movie about his life, Hemings fabricates an "invention" that becomes the whole world, and they run into each other "after an unimaginable length of time" on the New York City subway. O'Connor is unsparing in his rendition of the hypocrisy of the Founding Father and slaveholder who wrote "all men are created equal,” while enabling Hemings to tell her story in a way history has not allowed her to. His important and beautifully written novel is a deep moral reckoning, a story about the search for justice, freedom and an ideal world — and about the survival of hope even in the midst of catastrophe.

Since the publication of My Brilliant Friend, the first of the Neapolitan novels, Elena Ferrante's fame as one of our most compelling, insightful, and stylish contemporary authors has grown enormously. She has gained admirers among authors-Jhumpa Lahiri, Elizabeth Strout, Claire Messud, to name a few-and critics-James Wood, John Freeman, Eugenia Williamson, for example. But her most resounding success has undoubtedly been with readers, who have discovered in Ferrante a writer who speaks with great power and beauty of the mysteries of belonging, human relationships, love, family, and friendship.In this third Neapolitan novel, Elena and Lila, the two girls whom readers first met in My Brilliant Friend, have become women. Lila married at sixteen and has a young son; she has left her husband and the comforts of her marriage brought and now works as a common laborer. Elena has left the neighborhood, earned her college degree, and published a successful novel, all of which has opened the doors to a world of learned interlocutors and richly furnished salons. Both women have attempted are pushing against the walls of a prison that would have seem them living a life of mystery, ignorance and submission. They are afloat on the great sea of opportunities that opened up during the nineteen-seventies. Yet they are still very much bound to see each other by a strong, unbreakable bond.

In ten of her best essay-stories, Giedra Radvilavičiūtė travels between the ridiculous and the sublime, the everyday and the extraordinary. In the place of plot, which the author claims to have had "shot and buried with the proper honors," the reader finds a dense, subtly interwoven structure of memory and reality, banalities and fantasy, all served up with a good dollop of absurdity and humor. We travel from the old town of Vilnius to Chicago's Brighton Park neighborhood, from the seaside to a local delicatessen, all in a narrative collage as exquisitely detailed as a bouquet of flowers. As in all of her work, Radvilavičiūtė plays with the genres of fiction and nonfiction, essay and short story, in which the experiences of life "are unrecognizably transformed, like the flour, eggs, nuts, and apples in a cake."

David’s wife is dead. At least, he thinks she’s dead. But he can’t figure out what killed her or why she had to die, and his efforts to sort out what’s happened have been interrupted by his discovery of a series of elaborate and escalating threats hidden in strange places around his home — one buried in the sugar bag, another carved into the side of his television. These disturbing threats may be the best clues to his wife’s death:CURL UP ON MY LAP. LET ME BRUSH YOUR HAIR WITH MY FINGERS. I AM SINGING YOU A LULLABY. I AM TESTING FOR STRUCTURAL WEAKNESS IN YOUR SKULL.Detective Chico is also on the case, and is intent on asking David questions he doesn’t know the answers to and introducing him to people who don’t appear to have David’s or his wife’s best interests in mind. With no one to trust, David is forced to rely on his own memories and faculties — but they too are proving unreliable.In THREATS, Amelia Gray builds a world that is bizarre yet familiar, violent yet tender. It is an electrifying story of love and loss that grabs you on the first page and never loosens its grip.