An alternative cover edition for this ISBN can be found here. The author of award-winning Hamnet brings the world of Renaissance Italy to jewel-bright life in this unforgettable fictional portrait of the captivating young duchess Lucrezia de’ Medici as she makes her way in a troubled court. Florence, the 1550s. Lucrezia, third daughter of the grand duke, is comfortable with her obscure place in the palazzo: free to wonder at its treasures, observe its clandestine workings, and devote herself to her own artistic pursuits. But when her older sister dies on the eve of her wedding to the ruler of Ferrara, Modena and Reggio, Lucrezia is thrust unwittingly into the limelight: the duke is quick to request her hand in marriage, and her father just as quick to accept on her behalf. Having barely left girlhood behind, Lucrezia must now enter an unfamiliar court whose customs are opaque and where her arrival is not universally welcomed. Perhaps most mystifying of all is her new husband himself, Alfonso. Is he the playful sophisticate he appeared to be before their wedding, the aesthete happiest in the company of artists and musicians, or the ruthless politician before whom even his formidable sisters seem to tremble? As Lucrezia sits in constricting finery for a painting intended to preserve her image for centuries to come, one thing becomes worryingly clear. In the court’s eyes, she has one duty: to provide the heir who will shore up the future of the Ferranese dynasty. Until then, for all of her rank and nobility, the new duchess’s future hangs entirely in the balance. Full of the beauty and emotion with which she illuminated the Shakespearean canvas of Hamnet, Maggie O’Farrell turns her talents to Renaissance Italy in an extraordinary portrait of a resilient young woman’s battle for her very survival.

An inspirational guide to the key junctures in life that, if navigated with faith and discernment, pave the way for us to become our most courageous selves, by the bishop of the famed Episcopal Diocese of Washington, D.C. The decisive moments in life are those pivot points when we’re called on to push past our fears and act with strength. With How We Learn to Be Brave , Bishop Mariann Budde teaches us to respond with clarity and grace even in the toughest times. Being brave is not a singular occurrence; it’s a journey that we can choose to undertake every day. Here, Bishop Budde explores the full range of decisive moments, from the most visible and dramatic (the decision to go), to the internal and personal (the decision to stay), to brave choices made with an eye toward the future (the decision to start), those born of suffering (the decision to accept that which we did not choose), and those that come unexpectedly (the decision to step up to the plate). Drawing on examples ranging from Harry Potter to the Gospel According to Luke, she seamlessly weaves together personal experiences with stories from scripture, history, and pop culture to underscore both the universality of these moments and the particular call each one of us must heed when they arrive. With Bishop Budde’s wisdom, readers will learn to live and to respond according to their true beliefs and in ways that align with their best selves. How We Learn to Be Brave will provide much-needed fortitude and insight to anyone searching for answers in uncertain times.

Taken from the poverty of her parents' home in Portsmouth, Fanny Price is brought up with her rich cousins at Mansfield Park, acutely aware of her humble rank and with her cousin Edmund as her sole ally. During her uncle's absence in Antigua, the Crawford's arrive in the neighbourhood bringing with them the glamour of London life and a reckless taste for flirtation. Mansfield Park is considered Jane Austen's first mature work and, with its quiet heroine and subtle examination of social position and moral integrity, one of her most profound.

The riveting saga of the Seabrooks of New Jersey, by one of the New Yorker’s most acclaimed storytellers. “Having left this material for his writer son, my father must have wanted the story told, even if he couldn’t bear to tell it himself. So begins the multigenerational story of a forgotten American dynasty, a farming family from the bean fields of southern New Jersey that became as wealthy, glamorous, and powerful as Gilded Age aristocrats. The autocratic patriarch, C. F. Seabrook, was hailed as the “Henry Ford of agriculture.” His son Jack, a keen businessman, was poised to take over what Life called “the biggest vegetable factory on earth.” But the carefully cultivated facade—glamorous outings by horse-drawn carriage, hidden cellars of world-class wine, and movie stars skinny-dipping in the pool—hid dark secrets that led to the implosion of the family business. In a compulsively readable story of class and privilege, betrayal and revenge, John Seabrook explores his complicated family legacy and dark corners of the American Dream.

In a grand English country house in 1899, an aspiring art forger must unravel whether the man claiming to be her long-lost cousin is an impostor. An unwanted guest of her uncle’s family since childhood, Grace has grown up on the periphery of a once-great household. She has unusual predilections: for painting, particularly forgery; for deception; for other girls. Her life is altered when a letter arrives from the South Atlantic. The writer claims to be her cousin Charles, long presumed dead at sea. When he returns, a rift emerges between family members who claim he is an imposter and Grace’s aunt, who insists he is her son. Grace, whose intimate knowledge of fakes is her own closely guarded secret, is forced to decide who to believe and who to pretend to believe. In deciphering the truth about her cousin, she comes to understand other truths: how money is found and lost, and who deserves to be rich; what family means to queer people; and the value of authenticity, in art and in love.

An alternative cover edition for this ISBN can be found here. The author of award-winning Hamnet brings the world of Renaissance Italy to jewel-bright life in this unforgettable fictional portrait of the captivating young duchess Lucrezia de’ Medici as she makes her way in a troubled court. Florence, the 1550s. Lucrezia, third daughter of the grand duke, is comfortable with her obscure place in the palazzo: free to wonder at its treasures, observe its clandestine workings, and devote herself to her own artistic pursuits. But when her older sister dies on the eve of her wedding to the ruler of Ferrara, Modena and Reggio, Lucrezia is thrust unwittingly into the limelight: the duke is quick to request her hand in marriage, and her father just as quick to accept on her behalf. Having barely left girlhood behind, Lucrezia must now enter an unfamiliar court whose customs are opaque and where her arrival is not universally welcomed. Perhaps most mystifying of all is her new husband himself, Alfonso. Is he the playful sophisticate he appeared to be before their wedding, the aesthete happiest in the company of artists and musicians, or the ruthless politician before whom even his formidable sisters seem to tremble? As Lucrezia sits in constricting finery for a painting intended to preserve her image for centuries to come, one thing becomes worryingly clear. In the court’s eyes, she has one duty: to provide the heir who will shore up the future of the Ferranese dynasty. Until then, for all of her rank and nobility, the new duchess’s future hangs entirely in the balance. Full of the beauty and emotion with which she illuminated the Shakespearean canvas of Hamnet, Maggie O’Farrell turns her talents to Renaissance Italy in an extraordinary portrait of a resilient young woman’s battle for her very survival.

WINNER OF THE 2024 STREGA PRIZE WINNER OF THE 2024 YOUTH STREGA PRIZE  Acclaimed Italian author Donatella Di Pietrantonio’s best-selling novel to date, The Brittle Age is a powerful mother and daughter story and a profound exploration of human fragility and the haunting shadows of the past  In the 1990s, deep in the Maiella mountains of Central Italy, a brutal crime shatters the peace of the local community. Two young women are murdered, a third left for dead. Lucia is twenty years old back, and the only survivor is her best friend.     Now, Lucia is a physiotherapist, separating from her husband, her daughter Amanda studying in Milan.  When the pandemic forces Amanda to return to the family’s home near Pescara, Lucia’s memories are reawakened, and with them the impact of past trauma.   Set against the backdrop of the rugged Apennine mountains, this gripping psychological family drama weaves Lucia and Amanda’s personal struggles with the mystery of the tragedy that marked their familial land decades earlier.    Inspired by true events, The Brittle Age is a tale of individual resilience, and a commentary on the indelible impact of historical events on personal lives and the broader community.    

Jacaranda is a dreamy young woman moving between the planets of Los Angeles and New York City. She’s a beach bum, a part-time painter of surfboards, sun-kissed and beautiful. Jacaranda has an on-again, off-again relationship with a married man and glitters among the city’s pretty creatures, blithely drinking White Ladies with any number of tycoons, unattached and unworried in the pleasurable mania of California. Yet she lacks a purpose―so at twenty-eight, jobless, she moves to New York to start a new life and career, eager to make it big in the world of New York City. Sex and Rage delights in its sensuous, dreamlike narrative and spontaneous embrace of fate, work, and of certain meetings and chances. Jacaranda moves beyond the tango of sex and rage into the open challenge of a defined and more fulfilling expressive life. Sex and Rage further solidifies Eve Babitz's place as a singularly important voice in Los Angeles literature―haunting, alluring, and alive.

"Destined to become a new classic . . . Elkin shatters the truisms that have evolved around feminist thought.” ―Chris Kraus, author of I Love Dick and After Kathy A Literary Biography One of Lit Hub's most anticipated books of 2023 What kind of art does a monster make? And what if monster is a verb? Noun or a verb, the idea is a to overwhelm limits, to invent our own definitions of beauty. In this dazzlingly original reassessment of women’s stories, bodies, and art, Lauren Elkin―the celebrated author of Flâneuse ―explores the ways in which feminist artists have taken up the challenge of their work and how they not only react against the patriarchy but redefine their own aesthetic aims. How do we tell the truth about our experiences as bodies? What is the language, what are the materials, that we need to transcribe them? And what are the unique questions facing those engaged with female bodies, queer bodies, sick bodies, racialized bodies? Encompassing with a rich genealogy of work across the literary and artistic landscape, Elkin makes daring links between disparate points of reference― among them Julia Margaret Cameron’s photography, Kara Walker’s silhouettes, Vanessa Bell’s portraits, Eva Hesse’s rope sculptures, Carolee Schneemann’s body art, Theresa Hak Kyung Cha’s trilingual masterpiece DICTEE ―and steps into the tradition of cultural criticism established by Susan Sontag, Hélène Cixous, and Maggie Nelson. An erudite, potent examination of beauty and excess, sentiment and touch, the personal and the political, the ambiguous and the opaque, Art Monsters is a radical intervention that forces us to consider how the idea of the art monster might transform the way we imagine―and enact―our lives.

Tell me the worst thing you’ve ever done.On Christmas Eve, in a hotel on Ireland’s west coast, a man and a woman meet for the first time. As a snowstorm gathers outside windows twinkling with fairy lights, they share a meal, pour wine, propose a toast.Janice and Gerry are strangers to one another, but they each have a story to tell, a confession to make.As the blizzard howls, the night will take an unexpected turn, and their conversation will have consequences far beyond the candlelit table.

Getting Lost is the diary kept by Annie Ernaux during the year and a half she had a secret love affair with a younger, married man, an attaché to the Soviet embassy in Paris. Her novel, Simple Passion, was based on this affair, but here her writing is immediate and unfiltered. In these diaries it is 1989 and Annie is divorced with two grown sons, living in the suburbs of Paris and nearing fifty. Her lover escapes the city to see her there and Ernaux seems to survive only in expectation of these encounters. She cannot write, she trudges distractedly through her various other commitments in the world, she awaits his next call; she lives merely to feel desire and for the next rendezvous. When he is gone and the moment of desire has faded, she feels that she is a step closer to death. Lauded for her spare prose, Ernaux here removes all artifice, her writing pared down to its most naked and vulnerable. Translated brilliantly for the first time by Alison L. Strayer, Getting Lost is a haunting record of a woman in the grips of love, desire and despair.