Hannah Pittard

An "intimate and revelatory" (Tom Perrota) novel--based on true events--charting a single sweltering summer in Atlanta that left no one unchanged On a humid summer day, the phones begin to disaster has struck. Chateau de Sully, a Boeing 707 chartered to ferry home more than one hundred of Atlanta's most prominent citizens from a European jaunt, crashed in Paris shortly after takeoff. Overnight, the city of Atlanta changes. Left behind are children, spouses, lovers, and friends faced with renegotiating their lives--the hedonism of the sixties and the urgency of the civil rights movement at the city's doorstep. With Visible Empire, Hannah Pittard "brings her kaleidoscopic perspective to a catastrophe on an epic scale" (Los Angeles Times). Captivating and ambitious--and inspired by true events--this is a story of race, class, power, privilege, and, ultimately, of promise and hope.

“A bold, wise, magical, and authentic novel about youthful infatuation and its legacy. Hannah Pittard’s beautifully confident prose is sure to make readers look back on their own teenage years with fresh wonder.”—Vendela Vida, author of The Lovers   Already acclaimed for her short fiction—a McSweeney’s Amanda Davis Highwire Fiction Award winner whose work was selected by Salman Rushdie for inclusion in 2008 Best American Short Stories’ 100 Distinguished Stories—Hannah Pittard proves herself a master of long form fiction as well with her haunting, masterfully crafted debut novel, The Fates Will Find Their Way. A powerful and beautiful literary masterwork reminiscent of The Virgin Suicides, Pittard’s The Fates Will Find Their Way tells the unforgettable story of a teenaged girl gone missing, and the boys she grew up with who find themselves caught in the mysterious wake of her absence for the rest of their lives.

A refreshingly irreverent novel about art, desire, domesticity, freedom, and the intricacies of the twenty-first-century female experience, by the acclaimed novelist Hannah Pittard Divorced and childless by choice, Hana P. has built a cozy life in Lexington, Kentucky, teaching at the flagship university, living with her boyfriend ( a fellow academic ) and helping raise his pre-teen daughter. Her sister’s sprawling family lives just across the street, and their long-divorced, deeply complicated parents have also recently moved to town. One day, Hana learns that an unflattering version of herself will appear prominently—and soon—in her ex-husband’s debut novel. For a week, her life continues largely unaffected by the news—she cooks, runs, teaches, entertains—but the morning after baking mac ’n’ cheese from scratch for her nephew’s sixth birthday, she wakes up changed. The contentment she’s long enjoyed is gone. In its place: nothing. A remarkably ridiculous midlife crisis ensues, featuring a talking cat, a visit to the dean’s office, a shadowy figure from the past, a Greek chorus of indignant students whose primary complaints concern Hana’s autofictional narrative, and a game called Dead Body. Steeped in the subtleties and strangeness of contemporary life, If You Love It, Let It Kill You is a deeply nuanced and disturbingly funny examination of memory, ownership, and artistic expression for readers of Miranda July’s All Fours and Sigrid Nunez’s The Friend.

A modern gothic about a marriage and road trip gone hauntingly awry Mark and Maggie's annual drive east to visit family has gotten off to a rocky start. By the time they're on the road, it's late, a storm is brewing, and they are no longer speaking to one another. Adding to the stress, Maggie — recently mugged at gunpoint — is lately not herself, and Mark is at a loss about what to make of the stranger he calls his wife. When they are forced to stop for the night at a remote inn, completely without power, Maggie's paranoia reaches an all-time and terrifying high. But when Mark finds himself threatened in a dark parking lot, it’s Maggie who takes control.

"I loved this book, which I read in two breathless sittings. An intimate, bold, exquisite exploration of marriage, friendship, rivalry, betrayal." —Megan Abbott, New York Times bestselling author of The Turnout and Beware the Woman We Are Too Many is an unexpectedly funny, unflinchingly honest, and genre-bending memoir about a marriage-ending affair between award-winning author Hannah Pittard's husband and her captivating best friend. In this wryly humorous and innovative look at a marriage gone wrong, Hannah Pittard recalls a decade’s worth of unforgettable conversations, beginning with the one in which she discovers her husband has been having sex with her charismatic best friend, Trish. These time-jumping exchanges are fast-paced, intimate, and often jaw-dropping in their willingness to reveal the vulnerabilities inherent in any friendship or marriage. Blending fact and fiction, sometimes re-creating exchanges with extreme accuracy and sometimes diving headlong into pure speculation, Pittard takes stock not only of her own past and future but also of the larger, more universal experiences they connect with—from the depths of female rage to the heartbreaking ways we inevitably outgrow certain people. Clever and bold and radically honest to an unthinkable degree, Hannah Pittard's We Are Too Many examines the ugly, unfiltered parts of the female experience, as well as the many (happier) possibilities in starting any life over after a major personal catastrophe.

“Hannah Pittard’s memoir is so exquisitely crafted — I loved it.” —Ann Napolitano, New York Times bestselling author of Hello Beautiful “I loved this book, which I read in two breathless sittings. An intimate, bold, exquisite exploration of marriage, friendship, rivalry, betrayal.” —Megan Abbott, New York Times bestselling author of The Turnout and Beware the Woman We Are Too Many is an unexpectedly funny, unflinchingly honest, and genre-bending memoir about a marriage-ending affair between award-winning author Hannah Pittard's husband and her captivating best friend. In this wryly humorous and innovative look at a marriage gone wrong, Hannah Pittard recalls a decade’s worth of unforgettable conversations, beginning with the one in which she discovers her husband has been having sex with her charismatic best friend, Trish. These time-jumping exchanges are fast-paced, intimate, and often jaw-dropping in their willingness to reveal the vulnerabilities inherent in any friendship or marriage. Blending fact and fiction, sometimes re-creating exchanges with extreme accuracy and sometimes diving headlong into pure speculation, Pittard takes stock not only of her own past and future but also of the larger, more universal experiences they connect with—from the depths of female rage to the heartbreaking ways we inevitably outgrow certain people. Clever and bold and radically honest to an unthinkable degree, We Are Too Many examines the ugly, unfiltered parts of the female experience, as well as the many (happier) possibilities in starting any life over after a major personal catastrophe.