High in the Accursed Mountains, in a village ruled by the ancient laws of the Kanun, Bekja escapes an arranged marriage by becoming a sworn virgin, renouncing her womanhood to live as a man. Her decision sets off a brutal chain of events, destroying her family and separating her from the one she loves the most. Years later, as Bekija – now Matija – tells their story to a visiting journalist, long-buried truths come to light, along with the realisation of all that might have been.

Finlay Donovan is―once again―struggling to finish her next novel and keep her head above water as a single mother of two. On the bright side, she has her live-in nanny and confidant Vero to rely on, and the only dead body she's dealt with lately is that of her daughter's pet goldfish. On the not-so-bright side, someone out there wants her ex-husband, Steven, out of the picture. Permanently. Whatever else Steven may be, he's a good father, but saving him will send her down a rabbit hole of hit-women disguised as soccer moms, and a little bit more involvement with the Russian mob than she'd like. Meanwhile, Vero's keeping secrets, and Detective Nick Anthony seems determined to get back into her life. He may be a hot cop, but Finlay's first priority is preventing her family from sleeping with the fishes... and if that means bending a few laws then so be it. With her next book's deadline looming and an ex-husband to keep alive, Finlay is quickly coming to the end of her rope. She can only hope there isn't a noose at the end of it... From Edgar-Award nominee Elle Cosimano, comes Finlay Donovan Knocks 'Em Dead―the hilarious and heart-pounding follow-up to Finlay Donovan is Killing It.

A recurrent, unidentifiable noise in her apartment. A memo to her boss that's replaced by obscene insults. Amanda - a successful architect in a happy marriage - finds her life going off kilter by degrees. She starts smoking again, and one night for no reason, without even the knowledge that she's doing it, she burns her husband with a cigarette. At night she dreams of a beautiful woman with pointed teeth on the shore of a blood-red sea. The new voice in Amanda's head, the one that tells her to steal things and talk to strange men in bars, is strange and frightening, and Amanda struggles to wrest back control of her life. Is she possessed by a demon, or is she simply insane?

A recurrent, unidentifiable noise in her apartment. A memo to her boss that's replaced by obscene insults. Amanda - a successful architect in a happy marriage - finds her life going off kilter by degrees. She starts smoking again, and one night for no reason, without even the knowledge that she's doing it, she burns her husband with a cigarette. At night she dreams of a beautiful woman with pointed teeth on the shore of a blood-red sea. The new voice in Amanda's head, the one that tells her to steal things and talk to strange men in bars, is strange and frightening, and Amanda struggles to wrest back control of her life. Is she possessed by a demon, or is she simply insane?

In this beautiful and moving novel about family, love, and growing up, Ann Patchett once again proves herself one of America’s finest writers. In the spring of 2020, Lara’s three daughters return to the family's orchard in Northern Michigan. While picking cherries, they beg their mother to tell them the story of Peter Duke, a famous actor with whom she shared both a stage and a romance years before at a theater company called Tom Lake. As Lara recalls the past, her daughters examine their own lives and relationship with their mother, and are forced to reconsider the world and everything they thought they knew. Tom Lake is a meditation on youthful love, married love, and the lives parents have led before their children were born. Both hopeful and elegiac, it explores what it means to be happy even when the world is falling apart. As in all of her novels, Ann Patchett combines compelling narrative artistry with piercing insights into family dynamics. The result is a rich and luminous story, told with profound intelligence and emotional subtlety, that demonstrates once again why she is one of the most revered and acclaimed literary talents working today.

Evie Porter has everything a nice Southern girl could want: a doting boyfriend, a house with a white picket fence, a tight group of friends. The only catch: Evie Porter doesn’t exist. The identity comes first: Evie Porter. Once she’s given a name and location by her mysterious boss, Mr. Smith, she learns everything there is to know about the town and the people in it. Then the mark: Ryan Sumner. The last piece of the puzzle is the job. Evie isn’t privy to Mr. Smith’s real identity, but she knows this job isn’t like the others. Ryan has gotten under her skin, and she’s starting to envision a different sort of life for herself. But Evie can’t make any mistakes—especially after what happened last time. Evie Porter must stay one step ahead of her past while making sure there’s still a future in front of her. The stakes couldn’t be higher—but then, Evie has always liked a challenge. . . .

In this rowdy, frank reflection on illness, fame, sex, and everything in between, the remarkable mind behind the hit series Girls and the bestselling author of Not That Kind of Girl asks whether fulfilling her creative ambitions has been worth the pain. For the last decade, as she’s spent countless hours in doctor’s waiting rooms searching for diagnoses, treatments, and relief, being the owner and operator of Lena Dunham’s body has felt, as she puts it, 'like towing a wrecked car across town at midnight.' It’s not easy dragging a wrecked car anywhere, much less to the Met Gala while sewn into a gold lamé corset. Or to the set of the hit show that you – as a twenty-five-year-old – are writing, directing, producing, and starring in. Or to the White House, the Golden Globes, or your publicist’s office to discuss the latest internet disaster. But Dunham does it – even if it means interminable hospital stays, vomiting in the bathroom when she’s meant to be meeting Oprah, or terrifying those closest to her – because she can no longer tell the difference between fighting to do what she loves and being a servant to her own ambition. All the while, she is holding out for a love that can withstand her personal and public challenges and, more than anything, yearning to feel like herself again – if only she could remember who that self was. As Dunham takes us through her journey, tracking her rise to fame – from selling the pilot of Girls to the present – in three acts, it becomes clear that the spotlight casts long shadows, distorting the relationships she once held dear and isolating everyone in its glare. When an endless supply of drugs can’t protect you from pain – and begins to control your every move – being famous doesn’t stand a chance against the darker corners of the human experience. In Famesick, Dunham asks herself what the cost of fulfilling her dreams has really been, and whether it was worth it. What she finds is deeper than physical relief, and more lasting, as she learns to live with what she can’t change and turn her regrets into wisdom that can carry her forward, as she reconnects to what, and who, she loves.