Nothing interferes with Shane Hollander’s game—definitely not the sexy rival he loves to hate. Pro hockey star Shane Hollander isn’t just crazy talented, he’s got a spotless reputation. Hockey is his life. Now that he’s captain of the Montreal Voyageurs, he won’t let anything jeopardize that, especially the sexy Russian whose hard body keeps him awake at night. Boston Bears captain Ilya Rozanov is everything Shane’s not. The self-proclaimed king of the ice, he’s as cocky as he is talented. No one can beat him—except Shane. They’ve made a career on their legendary rivalry, but when the skates come off, the heat between them is undeniable. When Ilya realizes he wants more than a few secret hookups, he knows he must walk away. The risk is too great. As their attraction intensifies, they struggle to keep their relationship out of the public eye. If the truth comes out, it could ruin them both. But when their need for each other rivals their ambition on the ice, secrecy is no longer an option…

When a pair of detectives from the Mississippi Bureau of Investigation arrive in Money, Mississippi, to investigate a series of brutal murders, they find at each crime scene an unexpected second body: that of a man who resembles Emmett Till. After meeting resistance from the local sheriff, his deputy, the coroner, and a string of racist white townsfolk, the MBI detectives suspect these are killings of retribution. Then they discover eerily similar murders taking place in rapid succession all over the country. The past, it seems, refuses to be buried. The uprising has begun. In this provocative page-turner that takes direct aim at racism and police violence, Percival Everett offers a devastating critique of white supremacy and confronts the legacy of lynching in the United States.

With the verve and bite of My Year of Rest and Relaxation and the whip-smart, wisecracking sensibility of a golden-age Hollywood heroine, Marlowe Granados’s stunning début brilliantly captures a summer of striving in New York City. Refreshing and wry in equal measure, Happy Hour is an intoxicating novel of youth well spent. Isa Epley is all of twenty-one years old, and already wise enough to understand that the purpose of life is the pursuit of pleasure. After a sojourn across the pond, she arrives in New York City for a summer of adventure with her best friend, one newly blond Gala Novak. They have little money, but that’s hardly going to stop them from having a good time. In her diary, Isa describes a sweltering summer in the glittering city. By day, the girls sell clothes in a market stall, pinching pennies for their Bed-Stuy sublet and bodega lunches. By night, they weave from Brooklyn to the Upper East Side to the Hamptons among a rotating cast of celebrities, artists, Internet entrepreneurs, stuffy intellectuals, and bad-mannered grifters. Money runs ever tighter and the strain tests their friendship as they try to convert their social capital into something more lasting than their precarious gigs as au pairs, nightclub hostesses, paid audience members, and aspiring foot fetish models. Through it all, Isa’s bold, beguiling voice captures the precise thrill of cultivating a life of glamour and intrigue as she juggles paying her dues with skipping out on the bill. Happy Hour announces a dazzling new talent in Marlowe Granados, whose exquisite wit recalls Anita Loos’s 1925 classic, Gentlemen Prefer Blondes, updated to evoke a recent, golden period of hope and transformation—the summer of 2013. A cri de cœur for party girls and anyone who has ever felt entitled to an adventure of their own, Happy Hour is an effervescent tonic for the ails of contemporary life.

After she encounters a poem about love and friendship etched on the Homomonument in Amsterdam, Hélène Giannecchini is moved to attempt to do justice to a form of relation often subordinated to romance. A friendship is a filiation we choose, one that can reconfigure our understanding of co-existence. It holds love, laughter, dissent and solidarity; it can be a site of political struggle, of reinvention and rest. Thinking back to her own unconventional family formation, she sets out to piece together an alternative genealogy of lives excluded from normative discourses, whose traces may only remain in memory and archival fragments. In searching and sensitive prose, Giannecchini sifts the past to bring marginal existences into communion with each other, preserved through loving acts of witness and made full of meaning by friendship's generative force. Roving from Saint-Just's revolutionary ideal of amity to Donna Gottschalk's photography documenting radical lesbian organizing in 1960s and '70s New York, interspersed with unpublished images acquired magpie-like through chance and circumstance, An Army of Lovers Cannot Fail forms a slantwise account of queer life in the twentieth century, and a moving testament to the liberatory power of friendship.

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A haunting and powerful story of female friendships and secrets in a Washington, D.C. boardinghouse during the McCarthy era. Washington, D.C., 1950. Everyone keeps to themselves at Briarwood House, a down-at-the-heels all-female boardinghouse in the heart of the nation’s capital, where secrets hide behind white picket fences. But when the lovely, mysterious widow Grace March moves into the attic, she draws her oddball collection of neighbors into unlikely friendship: poised English beauty Fliss whose facade of perfect wife and mother covers gaping inner wounds; police officer’s daughter Nora, who is entangled with a shadowy gangster; frustrated baseball star Bea, whose career has ended along with the women’s baseball league of WWII; and poisonous, gung-ho Arlene, who has thrown herself into McCarthy’s Red Scare. Grace’s weekly attic-room dinner parties and window-brewed sun tea become a healing balm on all their lives, but she hides a terrible secret of her own. When a shocking act of violence tears apart the house, the Briar Club women must decide once and for all: Who is the true enemy in their midst?

After successful ad exec Alan Anderson bombs the biggest pitch of his career, he has an epiphany. His entire career has been about making people buy stuff that they don't need so they feel perpetually unsatisfied and less-than. After a lifetime of striving for capitalism, Alan is opting out. He retires to the ridiculously extravagant playhouse in his family's suburban Connecticut garden (a classic example of something the Andersons didn't need), gives up showering, shoe-wearing, and purchases of all kinds. He might even read a book! This is all very upsetting for his wife Vivian, who is on the verge of being accepted into the insanely elite Queen's Anne Club - guaranteed to make all her insecurities disappear and her children popular. But maybe everyone will want to buy what Alan's not selling? And, in losing his ambition, might he find what we're all looking for? For anyone who has ever cared more about how it looked than how it felt, ALAN OPTS OUT is a hilarious take on consumerism, capitalism and wellness.