Filled with magic and fierce emotion, Lisa Jensen's multilayered novel will make you question all you think you know about beauty, beastliness, and happily ever after. They say Château Beaumont is cursed. But servant-girl Lucie can’t believe such foolishness about handsome Jean-Loup Christian Henri LeNoir, Chevalier de Beaumont, master of the estate. But when the chevalier's cruelty is revealed, Lucie vows to see him suffer. A wisewoman grants her wish, with a spell that transforms Jean-Loup into monstrous-looking Beast, reflecting the monster he is inside. But Beast is nothing like the chevalier. Jean-Loup would never patiently tend his roses; Jean-Loup would never attempt poetry; Jean-Loup would never express remorse for the wrong done to Lucie. Gradually, Lucie realizes that Beast is an entirely different creature from the handsome chevalier, with a heart more human than Jean-Loup’s ever was. Lucie dares to hope that noble Beast has permanently replaced the cruel Jean-Loup — until an innocent beauty arrives at Beast’s château with the power to break the spell.
A journey into the heart of dark passions and the crimes they impel. When passion is in the picture, what is criminal, what is sane, what is mad or simply bad? Through court and asylum records, letters and newspaper accounts, this book brings to life some sensational trials between 1870 and 1914, a period when the psychiatric professions were consolidating their hold on our understanding of what is human. Outside fiction, individual emotions and the inner life had rarely been publicly discussed: now, in an increasingly popular press and its courtroom reports, people avidly consumed accounts of transgressive sexuality, savage jealousy and forbidden desires. These stood revealed as aspects not only of those labelled mad, but potentially, of everyone. With great story-telling flair and a wealth of historical detail, Lisa Appignanesi teases out the vagaries of passion and the clashes between the law and the clinic as they stumble towards a (sometimes reviled) collaboration. Sexual etiquette and class roles, attitudes to love, madness and gender, notions of respectability and honor, insanity and lunacy, all are at play in that vital forum in which public opinion is shaped—the theater of the courtroom.
In this intimate and tumultuous historical fiction, Iran plays a starring role under a stage name, "Persiran." We engage with its history through three generations of a vividly drawn aristocratic family called the Poonakis, beginning with twin princes who are devoted to each other, and ending in modern times - after the Khomeini revolution - with another set of twin brothers who are mortal enemies. The family - like the monarchy and the fledgling constitution - is doomed, as the clerical vision of building the kingdom of God on Earth prevails. The story has several narrators, whose fates by the end will intersect. The book's title refers to nine critical nights of storytelling - transposed into binary code: 1001, playing on the classic "1001 Nights" of Scheherazade. The episodes of the novel take place in a palace, a mosque, a village, a harem; a tearoom, a whorehouse, a prison. The characters travel through deserts and mountains, to European cities, and even to the battlefront with Iraq. In episodes of comedy and farce, as well as romance and, finally, tragedy, we get to know these compelling characters, including several unforgettable women. Throughout runs an important theme: the storyteller's obligation to tell his stories - the raw ingredients of history.
A dark, twisty thriller about a centuries-old, ivy-covered boarding school haunted by its history of witchcraft and two girls dangerously close to digging up the past. The dangerous romance and atmospheric setting makes it a perfect read for fans of dark academia. Felicity Morrow is back at the Dalloway School. Perched in the Catskill Mountains, the centuries-old, ivy-covered campus was home until the tragic death of her girlfriend. Now, after a year away, she's returned to finish high school. She even has her old room in Godwin House, the exclusive dormitory rumored to be haunted by the spirits of five Dalloway students—girls some say were witches. The Dalloway Five all died mysteriously, one after another, right on Godwin grounds. Witchcraft is woven into Dalloway's past. The school doesn't talk about it, but the students do. In secret rooms and shadowy corners, girls convene. And before her girlfriend died, Felicity was drawn to the dark. She's determined to leave that behind now, but it's hard when Dalloway's occult history is everywhere. And when the new girl won't let her forget. It's Ellis Haley's first year at Dalloway, and she has already amassed a loyal following. A prodigy novelist at seventeen, Ellis is a so-called method writer. She's eccentric and brilliant, and Felicity can't shake the pull she feels to her. So when Ellis asks Felicity to help her research the Dalloway Five for her second book, Felicity can't say no. Given her history with the arcane, Felicity is the perfect resource. And when history begins to repeat itself, Felicity will have to face the darkness in Dalloway—and herself.
NEW YORK TIMES BESTSELLER • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NPR • Entertainment Weekly • Kirkus Reviews • The Christian Science Monitor In the picturesque village of Guzmán, Spain, in a cave dug into a hillside on the edge of town, an ancient door leads to a cramped limestone chamber known as “the telling room.” Containing nothing but a wooden table and two benches, this is where villagers have gathered for centuries to share their stories and secrets—usually accompanied by copious amounts of wine. It was here, in the summer of 2000, that Michael Paterniti found himself listening to a larger-than-life Spanish cheesemaker named Ambrosio Molinos de las Heras as he spun an odd and compelling tale about a piece of cheese. An unusual piece of cheese. Made from an old family recipe, Ambrosio’s cheese was reputed to be among the finest in the world, and was said to hold mystical qualities. Eating it, some claimed, conjured long-lost memories. But then, Ambrosio said, things had gone horribly wrong. . . . By the time the two men exited the telling room that evening, Paterniti was hooked. Soon he was fully embroiled in village life, relocating his young family to Guzmán in order to chase the truth about this cheese and explore the fairy tale–like place where the villagers conversed with farm animals, lived by an ancient Castilian code of honor, and made their wine and food by hand, from the grapes growing on a nearby hill and the flocks of sheep floating over the Meseta. What Paterniti ultimately discovers there in the highlands of Castile is nothing like the idyllic slow-food fable he first imagined. Instead, he’s sucked into the heart of an unfolding mystery, a blood feud that includes accusations of betrayal and theft, death threats, and a murder plot. As the village begins to spill its long-held secrets, Paterniti finds himself implicated in the very story he is writing. Equal parts mystery and memoir, travelogue and history, The Telling Room is an astonishing work of literary nonfiction by one of our most accomplished storytellers. A moving exploration of happiness, friendship, and betrayal, The Telling Room introduces us to Ambrosio Molinos de las Heras, an unforgettable real-life literary hero, while also holding a mirror up to the world, fully alive to the power of stories that define and sustain us. Praise for The Telling Room “Captivating . . . Paterniti’s writing sings, whether he’s talking about how food activates memory, or the joys of watching his children grow.”—NPR
When a dream marriage goes wrong for a mistress-turned-wife, even perfect plan for payback may mean losing it all in this sexy contemporary romance. Nicole finally has it all. She dreamed, schemed, and seduced her way to media adoration and marriage to the lover she stole from his wife. But the honeymoon phase suddenly shatters when the groom decides to win back his ex. But if Nicole can't be the picket-fence wife, she’ll be the picture-perfect, very rich widow. And sexing her ex-con first love will ensure his help—and keep her hot and satisfied through those lonely grieving nights . . . To keep her own hands clean, Nicole must spin new lies, flip new scripts—and deal with the ultimate betrayal. Keeping her enemies close means igniting secrets and revelations even Nicole doesn’t see coming. And as an avalanche of scandal threatens everything she’s trying to keep, the last woman standing may be the biggest loser of all . . .
The Story of the Lost Child is the long-awaited fourth volume in the Neapolitan novels (My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay). The quartet traces the friendship between Elena and Lila, from their childhood in a poor neighbourhood in Naples, to their thirties, when both women are mothers but each has chosen a different path. Their lives are still inextricably linked, for better or worse, especially when it comes to the drama of a lost child. Elena Ferrante was born in Naples. She is the author of seven novels: The Days of Abandonment, Troubling Love, The Lost Daughter, and the quartet of Neapolitan novels: My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay, and The Story of the Lost Child. Frantugmalia, a selection of interviews, letters and occasional writings by Ferrante, will be published in 2016. She is one of Italy’s most acclaimed authors. Ann Goldstein has translated all of Elena Ferrante’s work. She is an editor at the New Yorker and a recipient of the PEN Renato Poggioli Translation Prize. Praise for Ferrante and the Neapolitan novels ‘[Ferrante’s] charting of the rivalries and sheer inscrutability of female friendship is raw. This is high stakes, subversive literature.’ Sunday Telegraph ‘Ferrante is an expert above all at the rhythm of plotting...Whether it’s work, family, friends or sex–and Ferrante, perhaps thanks to her anonymity as an author, is blisteringly good on bad sex–our greatest mistakes in life aren’t isolated acts; we rehearse them over and over until we get them as badly wrong as we can.’ Independent ‘Great novels are intelligent far beyond the powers of any character or writer or individual reader, as are great friendships, in their way. These wonderful books sit at the heart of that mystery, with the warmth and power of both.’ Harper’s ‘Elena Ferrante is one of the great novelists of our time. Her voice is passionate, her view sweeping and her gaze basilisk...In these bold, gorgeous, relentless novels, Ferrante traces the deep connections between the political and the domestic. This is a new version of the way we live now—one we need, one told brilliantly, by a woman.’ New York Times Sunday Book Review ‘When I read [the Neapolitan novels] I find that I never want to stop. I feel vexed by the obstacles—my job, or acquaintances on the subway—that threaten to keep me apart from the books. I mourn separations (a year until the next one—how?). I am propelled by a ravenous will to keep going.’ New Yorker ‘The best thing I’ve read this year, far and away...She puts most other writing at the moment in the shade. She’s marvellous.’ Richard Flanagan ‘The Neapolitan series stands as a testament to the ability of great literature to challenge, flummox, enrage and excite as it entertains.’ Sydney Morning Herald ‘The depth of perception Ms. Ferrante shows about her character’s conflicts and psychological states is astonishing...Her novels ring so true and are written with such empathy that they sound confessional.’ Wall Street Journal ‘The older you get, the harder it is to recapture the intoxicating sense of discovery that comes when you first read George Eliot, Nabokov, Tolstoy or Colette. But this year it came again when I read Elena Ferrante’s remarkable Neapolitan novels.’ Jane Shilling, New Statesman ‘There is nothing remotely tiring or trying about the experience of reading the Neapolitan novels, which I, and a great many others, now rank among our greatest book-related pleasures...it is writing that holds honesty dear.’ Weekend Australian ‘Dickens gave working people a voice. Ferrante, whoever she might be, presents a new paradigm for being female in the world...Ferrante’s great literary creations, Lenu and Lila, have the same emotional weight as Anne in Persuasion, Jo in Little Women, Maggie in The Mill on the Floss, Jane in Jane Eyre.’ Helen Elliott in the Monthly ‘This stunning conclusion further solidifies the Neapolitan novels as Ferrante’s masterpiece and guarantees that this reclusive author will remain far from obscure for years to come.’ Publishers Weekly ‘The Neapolitan novels are smart, thoughtful, serious literature. At the same time, they are violent, suspenseful soap operas populated with a vivid cast of scheming characters...Ferrante’s novels are deeply personal and intimate, getting to the very heart of what it means to be a woman, a friend, a daughter, a mother.’ Debrief Daily ‘Shattering and enthralling, intimate and vicious...The Neapolitan Novels are the kind of books that swallow me whole. As soon as I pick one up, I don’t want to breathe or move lest I break the spell...The Neapolitan Novels are among the most important in my reading life. I can’t recommend them highly enough.’ Readings ‘Ferrante captures the complexities of women, friendship and motherhood in ways that make your heart soar and ache in equal measures. If you haven’t already, treat yourself to this series.’ ELLE Australia ‘[Ferrante’s] Neapolitan novels contain real life – recognisable anxiety, joy, love and heartbreak. This is an incredibly difficult feat to achieve in the first place, let alone sustain, over four books. We will be talking about Elena and Lila for years to come.’ Sydney Morning Herald ‘There's a bright, sinewy humanness to Ferrante’s writing that is so alive it's alarming...The Story of the Lost Child is a full emotional experience, and a fitting end to a huge, arresting series.’ New Zealand Listener ‘I was one of the many who wept and wondered over Elena Ferrante’s The Story of the Lost Child. I plan to re-read the entire series soon.’ Favourite Feminist Reads from 2016, Feminist Writers Festival
“An intense snapshot of the chain reaction caused by pulling a trigger.” —Booklist (starred review) “Astonishing.” —Kirkus Reviews (starred review) “A tour de force.” —Publishers Weekly (starred review) A Newbery Honor Book A Coretta Scott King Honor Book A Printz Honor Book A Time Best YA Book of All Time (2021) A Los Angeles Times Book Prize Winner for Young Adult Literature Longlisted for the National Book Award for Young People’s Literature Winner of the Walter Dean Myers Award An Edgar Award Winner for Best Young Adult Fiction Parents’ Choice Gold Award Winner An Entertainment Weekly Best YA Book of 2017 A Vulture Best YA Book of 2017 A Buzzfeed Best YA Book of 2017 An ode to Put the Damn Guns Down, this is New York Times bestselling author Jason Reynolds’s electrifying novel that takes place in sixty potent seconds—the time it takes a kid to decide whether or not he’s going to murder the guy who killed his brother. A cannon. A strap. A piece. A biscuit. A burner. A heater. A chopper. A gat. A hammer A tool for RULE Or, you can call it a gun. That’s what fifteen-year-old Will has shoved in the back waistband of his jeans. See, his brother Shawn was just murdered. And Will knows the rules. No crying. No snitching. Revenge. That’s where Will’s now heading, with that gun shoved in the back waistband of his jeans, the gun that was his brother’s gun. He gets on the elevator, seventh floor, stoked. He knows who he’s after. Or does he? As the elevator stops on the sixth floor, on comes Buck. Buck, Will finds out, is who gave Shawn the gun before Will took the gun. Buck tells Will to check that the gun is even loaded. And that’s when Will sees that one bullet is missing. And the only one who could have fired Shawn’s gun was Shawn. Huh. Will didn’t know that Shawn had ever actually USED his gun. Bigger huh. BUCK IS DEAD. But Buck’s in the elevator? Just as Will’s trying to think this through, the door to the next floor opens. A teenage girl gets on, waves away the smoke from Dead Buck’s cigarette. Will doesn’t know her, but she knew him. Knew. When they were eight. And stray bullets had cut through the playground, and Will had tried to cover her, but she was hit anyway, and so what she wants to know, on that fifth floor elevator stop, is, what if Will, Will with the gun shoved in the back waistband of his jeans, MISSES. And so it goes, the whole long way down, as the elevator stops on each floor, and at each stop someone connected to his brother gets on to give Will a piece to a bigger story than the one he thinks he knows. A story that might never know an END…if Will gets off that elevator. Told in short, fierce staccato narrative verse, Long Way Down is a fast and furious, dazzlingly brilliant look at teenage gun violence, as could only be told by Jason Reynolds.
"Tartly elegant...A vigorous, sparkling, and entertaining love story with plenty of Austen-ite wit." -Kirkus Reviews, STARRED review She Couldn't Forget... Wealthy squire's daughter Margaret Honeywell was always meant to marry her neighbor, Frederick Burton-Smythe, but it's bastard-born Nicholas Seaton who has her heart. Raised alongside her on her father's estate, Nick is the rumored son of notorious highwayman Gentleman Jim. When Fred frames him for theft, Nick escapes into the night, vowing to find his legendary sire. But Nick never returns. A decade later, he's long been presumed dead. He Wouldn't Forgive... After years spent on the continent, John Beresford, Viscount St. Clare has finally come home to England. Tall, blond, and dangerous, he's on a mission to restore his family's honor. If he can mete out a bit of revenge along the way, so much the better. But he hasn't reckoned for Maggie Honeywell. She's bold and beautiful--and entirely convinced he's someone else. As danger closes in, St. Clare is torn between love and vengeance. Will he sacrifice one to gain other? Or, with a little daring, will he find a way to have them both?
He screwed up by breaking her heart . . . now I'm making my move. Colton has been in love with Ember from the first moment he laid eyes on her. But he couldn't have her. One, she was too young for him at the time. Two, she was his little brother's girl. But when he finds her an absolute mess, finds out his little brother has broken her heart? He won't be waiting any longer. Nothing is stopping him - not even the fact that Ember is pregnant with his brother's baby. He broke her heart. He left her stranded with no one to turn to. And Colton? He's set out for revenge. **Triggers: age-gap, baby daddy drama, some mention of depression and anxiety.
