Sharlotte

Gary and Clare Kirk are set to celebrate their 25th wedding anniversary...except they’re not. Childless, and with so little in common, the couple finally accept there’s no good reason to remain married. However, Gary’s idea of an amicable divorce settlement differs significantly from Clare’s, and tensions between the couple soon mount. Money, as is often the case, is at the root of their disagreement. As Gary explores every avenue to evade his wife’s financial demands, he inadvertently finds himself sitting opposite a relationship resolution advisor by the name of Edith Stimp.

Frederick Fife was born with an extra helping of kindness in his heart. If he borrowed your car, he’d return it washed with a full tank of gas. The problem is there’s nobody left in Fred’s life to borrow from. At eighty-two, he’s desperately lonely, broke, and on the brink of homelessness. But Fred’s luck changes when, in a bizarre case of mistaken identity, he takes the place of grumpy Bernard Greer at the local nursing home. Now he has warm meals in his belly and a roof over his head—as long as his poker face is in better shape than his prostate and that his look-alike never turns up.

When retired math teacher Grace Winters is left a run-down house on a Mediterranean island by a long-lost friend, curiosity gets the better of her. She arrives in Ibiza with a one-way ticket, no guidebook and no plan. Among the rugged hills and golden beaches of the island, Grace searches for answers about her friend’s life, and how it ended. What she uncovers is stranger than she could have dreamed. But to dive into this impossible truth, Grace must first come to terms with her past.

The Bell Jar chronicles the crack-up of Esther Greenwood: brilliant, beautiful, enormously talented, and successful but slowly going under - maybe for the last time. Sylvia Plath masterfully draws the reader into Esther's breakdown with such intensity that Esther's insanity becomes completely real and even rational, as probable and accessible an experience as going to the movies. Such deep penetration into the dark and harrowing corners of the psyche is an extraordinary accomplishment and has made The Bell Jar a haunting American classic.

The last thing Alice expects to see at her husband’s graveside on his birthday is a giant, talking frog. On closer inspection, it’s a grown man dressed as Kermit. Turns out Alice’s husband is buried next to Ben’s older brother Harry, who—as a parting practical joke in his will—insisted that Ben visit his grave each year, on this specific day, dressed in an as-yet-undisclosed pageant of embarrassing fancy dress.

Following the death of her former husband, Cam, fifty-four-year-old Eleanor has moved back to the New Hampshire farm where they raised three children to care for their brain-injured son, Toby, now an adult. Toby’s older brother, Al, is married and living in Seattle with his wife; their sister, Ursula, lives in Vermont with her husband and two children. Although all appears stable, old resentments, anger, and bitterness simmer just beneath the surface. How the Light Gets In follows Eleanor and her family through fifteen years (2010 to 2024).

Sam and Sadie—two college friends, often in love, but never lovers—become creative partners in a dazzling and intricately imagined world of video game design, where success brings them fame, joy, tragedy, duplicity, and, ultimately, a kind of immortality. It is a love story, but not one you have heard before.

Our narrator should be happy, shouldn't she? She's young, thin, pretty, a recent Columbia graduate; she works an easy job at a hip art gallery and lives in an apartment on the Upper East Side of Manhattan paid for, like the rest of her needs, by her inheritance. But there is a dark and vacuous hole in her heart, and it isn't just the loss of her parents, or the way her Wall Street boyfriend treats her, or her sadomasochistic relationship with her best friend, Reva. It's the year 2000 in a city aglitter with wealth and possibility; what could be so terribly wrong?

When Dinah Brooke's second novel, Lord Jim at Home, was first published in 1973, it was described as "squalid and startling," "nastily horrific," and a "monstrous parody" of upper-middle class English life. It is the story of Giles Trenchard, who grows up isolated in an atmosphere of privilege and hidden violence; who goes to war, and returns; and then, one day—like the hero of Joseph Conrad's classic Lord Jim—commits an act that calls his past, his character, his whole world into question.

There's something eerily unsettling about Ottessa Moshfegh's stories, something almost dangerous, while also being delightful and even laugh-out-loud funny. Her characters are all unsteady on their feet in one way or another; they all yearn for connection and betterment, though each in very different ways, but they are often tripped up by their own baser impulses and existential insecurities.