You really can't go home again.Tait Logan is proud of the life she’s built for herself. Despite her world-shattering divorce, not having any genuine connections with other humans apart from her sister Ava, and the fact that the remainder of her family is estranged from her life, she’s happy…happy-adjacent, at least. She’s rebuilt herself through her photography; her dream career, the one thing she does still have. When that career contracts her to do an assignment on her estranged family's home, Logan Range—a now famous ranch functioning as the setting for a popular TV show—she’s left with no choice but to agree. It’s only a six-week assignment, after all. She has no plans to set down roots, or get to know the family that, seemingly, has had no interest in a relationship with her since her parents' divorce when she was seven.Henry Marcum is a cowboy who has dedicated his life to the Logan family and to their ranch. He owes them for raising him, rescuing him, and giving him purpose… He also owes them for every hardship he’s inadvertently brought their way. So, when Tait Logan shows up after 20 years of near total silence, he takes it upon himself to protect the people he knows and loves.It’s a rocky start when Tait and Henry first collide; he is naturally wary of her intentions, and she is more than perturbed by their literal collision - which results in her broken camera, during her first night on location, no less. But as the pair get to know each other better, they’re thrown off balance time and time again by their growing feelings, and by the story of the Logan family as it becomes increasingly less clear from their perspectives.Set in the mountains and valleys of Idaho on a rustic ranch, Rootbound is a steamy romance with a warm country feel that touches upon family, heartbreak, and whether the potential for disaster is worth the risk that accompanies love.

A former sorority girl starts a prestigious poetry MFA program only to discover that one of her fellow grad students is her high school crush-turned-nemesis—​who can't stop writing about her. No one’s more surprised than Leigh when a prestigious MFA program in North Carolina accepts her. A former sorority girl, Leigh’s the first to admit she knows more about the lyrics of Taylor Swift than T.S. Eliot, and she’s never been able to shake the “all-style-no-substance” feedback her high school crush made in their poetry workshop. Bad enough that her tattooed, New Yorker tote bag-carrying classmates have read all the right authors and been published in the country's leading literary journals, Leigh's insecurities become all too real when Will, that same high school crush-turned-nemesis, shows up at orientation as a first-year in the program, too. And now, he’s William, exactly the kind of writer Leigh hates, complete with his pretentious sweater vests and tattered Moleskine. Leigh’s determined to prove herself—and William—wrong by landing the program’s highly-coveted fellowship. But Will’s dead-set on it, too, and in a small cohort, they can't keep apart for long. When Will submits an intimate poem (that's maybe, probably, definitely about Leigh) to workshop, they’re both forced to realize there’s more to the other than what’s on the page. And what’s between the lines may be even more interesting.

A former sorority girl starts a prestigious poetry MFA program only to discover that one of her fellow grad students is her high school crush-turned-nemesis—​who can't stop writing about her. No one’s more surprised than Leigh when a prestigious MFA program in North Carolina accepts her. A former sorority girl, Leigh’s the first to admit she knows more about the lyrics of Taylor Swift than T.S. Eliot, and she’s never been able to shake the “all-style-no-substance” feedback her high school crush made in their poetry workshop. Bad enough that her tattooed, New Yorker tote bag-carrying classmates have read all the right authors and been published in the country's leading literary journals, Leigh's insecurities become all too real when Will, that same high school crush-turned-nemesis, shows up at orientation as a first-year in the program, too. And now, he’s William, exactly the kind of writer Leigh hates, complete with his pretentious sweater vests and tattered Moleskine. Leigh’s determined to prove herself—and William—wrong by landing the program’s highly-coveted fellowship. But Will’s dead-set on it, too, and in a small cohort, they can't keep apart for long. When Will submits an intimate poem (that's maybe, probably, definitely about Leigh) to workshop, they’re both forced to realize there’s more to the other than what’s on the page. And what’s between the lines may be even more interesting.

Track every dollar you spend. Check your account balances once a week. Always pay off your credit card bill in full. Make a budget—and stick to it. These are just a few of the edicts you'll find in virtually every personal finance book. But this kind of rigid, one‑size-fits‑all advice—usually written for and by wealthy white men (and a few women) with little perspective on the money struggles that many people face—is unrealistic, and only creates stress and shame.   As a financial journalist and educator, Dana Miranda is on a mission to liberate readers from budget the damaging set of beliefs around money that rely on restriction, shame, and greed—much like diet culture does for food and bodies. In this long‑overdue alternative to traditional budgeting advice, Miranda offers a new approach that makes money easy for everyone, regardless of the numbers in their bank account.   Full of counterintuitive advice—like how to use debt to support your life goals, how to plan for retirement without a 401K, and how to take advantage of resources that exist to support those left behind by the forces of capitalism—You Don’t Need a Budget will empower readers to get money off their mind and live the lives they want.

Librarian note: alternate covers for this edition can be found here and here and here. During the summer of 1941 the Metanov family are living a hard life in Leningrad. As the German armies advance their future looks bleak. For Tatiana, love arrives in the guise of Alexander, who harbours a deadly and extraordinary secret.

Librarian note: alternate covers for this edition can be found here and here and here. During the summer of 1941 the Metanov family are living a hard life in Leningrad. As the German armies advance their future looks bleak. For Tatiana, love arrives in the guise of Alexander, who harbours a deadly and extraordinary secret.

She’s All That meets She’s the Man in this New Adult sports romance about a British bad boy rugby player who’s forced to start over in America and finds an unlikely ally in the coach’s daughter when she offers him a deal he can’t resist. Leaving it all on the field is one thing. Giving his all to love? Terrifying. British bad boy Cillian “Kill” Cairney is ruthless on the rugby pitch. After getting a permanent red card from his team in London, the only team that will have him is an Ivy League school in New Hampshire. But the guys hate him, his coach doesn’t trust him, and worst of all? His starting position is in the hands of his coach’s fiery, rugby-obsessed, very off-limits daughter. Not only does he have to earn his coach’s respect, but Kill has to earn Rory’s—and nothing has ever seemed more difficult. That is, until she approaches him with a proposition that could benefit them both . . .           Rory St. James has spent all her life immersed in rugby. Which is . . . part of the problem. She’s tired of being friend-zoned. She wants to get the guy, and to do that, she needs the frustratingly charming Cillian to teach her. But the more time they spend together, the more lines begin to blur. In a game where trust and loyalty are tested, who will be the winner? Or will love be the final red card?

She’s All That meets She’s the Man in this New Adult sports romance about a British bad boy rugby player who’s forced to start over in America and finds an unlikely ally in the coach’s daughter when she offers him a deal he can’t resist. Leaving it all on the field is one thing. Giving his all to love? Terrifying. British bad boy Cillian “Kill” Cairney is ruthless on the rugby pitch. After getting a permanent red card from his team in London, the only team that will have him is an Ivy League school in New Hampshire. But the guys hate him, his coach doesn’t trust him, and worst of all? His starting position is in the hands of his coach’s fiery, rugby-obsessed, very off-limits daughter. Not only does he have to earn his coach’s respect, but Kill has to earn Rory’s—and nothing has ever seemed more difficult. That is, until she approaches him with a proposition that could benefit them both . . .           Rory St. James has spent all her life immersed in rugby. Which is . . . part of the problem. She’s tired of being friend-zoned. She wants to get the guy, and to do that, she needs the frustratingly charming Cillian to teach her. But the more time they spend together, the more lines begin to blur. In a game where trust and loyalty are tested, who will be the winner? Or will love be the final red card?

The daughter of an automotive magnate escapes to an artistic retreat that holds more secrets—and more intrigue—than she could have ever imagined, in this Prohibition-era novel from the #1 New York Times bestselling author of Salt to the Sea.Detroit, 1927. A city of smoke and ambition, where glittering wealth conceals a graveyard of secrets.Marjorie Lennox is the youngest daughter of a powerful automotive dynasty, a family known for money, not manners. Artistic, impulsive, and always slightly out of step, Marjorie has long been dismissed by her controlling father and self-absorbed siblings. But when she secretly applies to an exclusive arts program funded by an elusive benefactor, she sees a chance to redefine herself on her own terms.The building is grand. The participants are gifted. But something…is off.The program is uncomfortably restrictive. Doors lock at odd hours. Strange sounds echo through the halls amid whispers that women are disappearing. And the handsome benefactor’s presence—mostly absent, yet somehow everywhere—begins to unnerve her. As Marjorie’s sense of self begins to slip, so does her grip on the truth. What happens to women who don’t fit neatly into a gilded frame?Set against the crumbling grandeur of 1920s Detroit and inspired by actual, long-buried historical events, A Fortune of Sand is a haunting mosaic of glamour and grift—a novel about those who vanish, and those who demand to be seen.

The Office meets Six Feet Under meets About a Boy in this coming-of-middle-age tale about having a second chance to write your life’s story. Bud Stanley is an obituary writer who is afraid to live. Yes, his wife recently left him for a “far more interesting” man. Yes, he goes on a particularly awful blind date with a woman who brings her ex. And yes, he has too many glasses of Scotch one night and proceeds to pen and publish his own obituary. The newspaper wants to fire him. But now the company’s system has him listed as dead. And the company can’t fire a dead person. The ensuing fallout forces him to realize that life may be actually worth living. As Bud awaits his fate at work, his life hangs in the balance. Given another shot by his boss and encouraged by his best friend, Tim, a worldly and wise former art dealer, Bud starts to attend the wakes and funerals of strangers to learn how to live. Thurber Prize-winner and NYTimes bestselling author John Kenney tells a funny, touching story about life and death, about the search for meaning, about finding and never letting go of the preciousness of life.