In Russia's struggle with Napoleon, Tolstoy saw a tragedy that involved all mankind. War and Peace broadly focuses on Napoleon’s invasion of Russia in 1812 and follows three of the most well-known characters in literature: Pierre Bezukhov, the illegitimate son of a count who is fighting for his inheritance and yearning for spiritual fulfillment; Prince Andrei Bolkonsky, who leaves his family behind to fight in the war against Napoleon; and Natasha Rostov, the beautiful young daughter of a nobleman who intrigues both men. As Napoleon’s army invades, Tolstoy brilliantly follows characters from diverse backgrounds—peasants and nobility, civilians and soldiers—as they struggle with the problems unique to their era, their history, and their culture. And as the novel progresses, these characters transcend their specificity, becoming some of the most moving—and human—figures in world literature. Tolstoy gave his personal approval to this translation, published here in a new single volume edition, which includes an introduction by Henry Gifford, and Tolstoy's important essay `Some Words about War and Peace'.

Emily Austin, the bestselling “queen of darkly quirky, endearingly flawed heroines” (Sarah Haywood, author of The Cactus), returns with a luminous new novel following a librarian who comes back to work after a mental breakdown only to confront book-banning crusaders in an empowering story of grief, love, and the power of libraries. Darcy’s life turned out better than she could have ever imagined. She is a librarian at the local branch, while her wife Joy runs a book binding service. Between the two of them, there is no more room on their shelves with their ample book collections, various knickknacks and bobbles, and dried bouquets. Rounding out their ideal life is two cats and a sun-soaked house by the lake. But when Darcy receives the news that her ex-boyfriend, Ben, has passed away, she spirals into a pit of guilt and regret, resulting in a mental breakdown and medical leave from the library. When she returns to work, she is met by unrest in her community, and protests surrounding intellectual freedom, resulting in a call for book bans and a second look at the branch’s upcoming DEI programs. Through the support of her community, colleagues, and the personal growth that results from examining her previous relationships, Darcy comes into her own agency and the truest version of herself. Is This a Cry for Help? not only offers a moving portrait of queer life after coming of age but also powerfully explores questions about sexuality, community, and the importance of libraries.

In Claudia Dey’s Daughter, a woman long caught in her father's web strives to make a life—and art—of her own.To be loved by your father is to be loved by God.So says Mona Dean—playwright, actress, and daughter to a man famous for one great novel, whose needs and insecurities exert an inescapable pull and exact an immeasurable toll on the women of his family: Mona, her sister, her half-sister, their mothers. His infidelity destroyed Mona’s childhood, setting her in opposition to a stepmother who, though equally damaged, disdains her for being broken. Then, just as Mona is settling into her life as an adult and a fledgling artist, he begins a new affair and takes her into his confidence. Mona delights—painfully, parasitically—in this attention. When he inevitably confesses to his wife, Mona is cast as the agent of disruption, punished for her father’s crimes and ejected from the family.Mona’s tenuous stability is thrown into chaos. Only when she suffers an incalculable loss—one far deeper and more defining than family entanglements—can she begin supplanting absent love with real love. Pushed to the precipice, she must decide how she wants to live, what she most needs to say, and the risks she will take to say it.Claudia Dey chronicles our most intimate lives with penetrating insight and devilish humor. Daughter is an obsessive, blazing examination of the forces that drive us to become, to create, and to break free.

A hopeless romantic meets a demoralized radio host in this cozy, Sleepless in Seattle-inspired love story from beloved author B.K. Borison. Aiden Valentine has a secret: he's fallen out of love with love. And as the host of Baltimore's romance hotline, that's a bit of a problem. But when a young girl calls in to the station asking for dating advice for her mom, the interview goes viral, thrusting Aiden and Heartstrings into the limelight. Lucie Stone thought she was doing just fine. She has a good job; an incredible family; and a smart, slightly devious kid. But when all of Baltimore is suddenly scrutinizing her love life-or lack thereof—she begins to question if she's as happy as she thought. Maybe a little more romance wouldn't be such a bad thing. Everyone wants Lucie to find her happy ending... even the handsome, temperamental man calling the shots. But when sparks start to fly behind the scenes, Lucie must make the final call between the radio-sponsored happily ever after or the man in the headphones next to her.

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.

The Murderess is a bone-chilling tale of crime and punishment with the dark beauty of a backwoods ballad. Set on the dirt-poor Aegean island of Skiathos, it is the story of Hadoula, an old woman living on the margins of society and at the outer limits of respectability. Hadoula knows about herbs and their hidden properties, and women come to her when they need help. She knows women’s secrets and she knows the misery of their lives, and as the book begins, she is trying to stop her new-born granddaughter from crying so that her daughter can at last get a little sleep. She rocks the baby and rocks her and then the terrible truth hits there’s nothing worse than being born a woman, and there’s something that she, Hadoula, can do about that. Peter Levi’s matchless translation of Alexandros Papadiamantis’s astonishing novella captures the excitement and haunting poetry of the original Greek.

Have we become beauty-blind? For two decades or more in the humanities, various political arguments have been put forward against beauty: that it distracts us from more important issues; that it is the handmaiden of privilege; and that it masks political interests. In On Beauty and Being Just Elaine Scarry not only defends beauty from the political arguments against it but also argues that beauty does indeed press us toward a greater concern for justice. Taking inspiration from writers and thinkers as diverse as Homer, Plato, Marcel Proust, Simone Weil, and Iris Murdoch as well as her own experiences, Scarry offers up an elegant, passionate manifesto for the revival of beauty in our intellectual work as well as our homes, museums, and classrooms. Scarry argues that our responses to beauty are perceptual events of profound significance for the individual and for society. Presenting us with a rare and exceptional opportunity to witness fairness, beauty assists us in our attention to justice. The beautiful object renders fairness, an abstract concept, concrete by making it directly available to our sensory perceptions. With its direct appeal to the senses, beauty stops us, transfixes us, fills us with a surfeit of aliveness. In so doing, it takes the individual away from the center of his or her self-preoccupation and thus prompts a distribution of attention outward toward others and, ultimately, she contends, toward ethical fairness. Scarry, author of the landmark The Body in Pain and one of our bravest and most creative thinkers, offers us here philosophical critique written with clarity and conviction as well as a passionate plea that we change the way we think about beauty.