All Things Cease To Appear

“This literary thriller's complex narrative involves a cursed house, an unsolved murder and impeccable writing.” —The New York Times Book Review • The basis for the Netflix film Things Heard and Seen Recent transplants to the small town of Chosen, New York, the Clares have not received the warmest welcome; once a thriving dairy farm, their home is haunted by the tragedy that left the former owner’s three sons orphaned and adrift. Late one winter afternoon, professor George Clare knocks on his neighbor’s door with terrible news: he returned from work to find his wife, Catherine, murdered in their bed. Someone took an ax to her head while their three-year-old daughter, Franny, played alone in her room across the hall. As one dark secret peels away to reveal others—and as the Clare marriage reveals itself to have a sinister darkness that rivals the farm’s history—Elizabeth Brundage offers a rich and complex portrait of the scars that can haunt a community for generations and the dark longings inside each and every one of us that drive us to do inexplicable things.

'Ghosts, murder, a terrifying psychotic who seems normal, and beautiful writing. Loved it' Stephen King 'Can make you gasp in astonishment or break your heart with a single line' Wall St Journal 'Superb. Think a more literary, and feminist, Gone Girl' Vogue BASIS FOR THE NETFLIX FILM THINGS HEARD & SEEN This begins the morning Catherine Clare died. The day her daughter spent in the house with her. The evening her husband came home to find her. This becomes the tale of their marriage, and the ones around them. A tale of bonds between families, between lives living and lost and of the lonely ones that share no bonds at all. Who should be pitied. Who must be feared.

From the author of the "wrenching and exhilarating" All Things Cease to Appear comes a gripping literary thriller about a man reckoning with the mysterious death of his former roommate (Wall Street Journal). Julian Ladd and Rye Adler cross paths as photography students in the exclusive Brodsky Workshop. When Rye needs a roommate, Julian moves in, and a quiet, compulsive envy takes root, assuring, at least in his own mind, that he will never achieve Rye’s certain success. Both men are fascinated with their beautiful and talented classmate, Magda, whose captivating images of her Polish neighborhood set her apart, and each will come to know her intimately – a woman neither can possess and only one can love. Twenty years later, long after their paths diverge, Rye is at the top of his field, famous for his photographs of celebrities and far removed from the downtrodden and disenfranchised subjects who’d secured his reputation as the eye of his generation. When Magda reenters his life, asking for help only he can give, Rye finds himself in a broken landscape of street people and addicts, forcing him to reckon with the artist he once was, until his search for a missing boy becomes his own desperate fight to survive. Months later, when Julian discovers Rye’s obituary, the paper makes it sound like a suicide. Despite himself, Julian attends the funeral, where there is no casket and no body. This sudden reentry into a world he thought he left behind forces Julian to question not only Rye’s death, but the very foundations of his life. In this eerie and evocative novel, Elizabeth Brundage establishes herself as one of the premiere authors of literary fiction at work today.

Having grown up in a privileged environment, private school student Willa witnesses the tragic collision between the private difficulties of her biological and adoptive families, a situation that is further challenged by the indiscretions of her headmaster and a feminist sculptor's reckless affair. 60,000 first printing.

One of The New York Times Book Review’s 10 Best Books of 2021 Shortlisted for the 2021 International Booker Prize and the 2021 National Book Award for Translated Literature A fictional examination of the lives of real-life scientists and thinkers whose discoveries resulted in moral consequences beyond their imagining. When We Cease to Understand the World is a book about the complicated links between scientific and mathematical discovery, madness, and destruction. Fritz Haber, Alexander Grothendieck, Werner Heisenberg, Erwin Schrödinger—these are some of luminaries into whose troubled lives Benjamín Labatut thrusts the reader, showing us how they grappled with the most profound questions of existence. They have strokes of unparalleled genius, alienate friends and lovers, descend into isolation and insanity. Some of their discoveries reshape human life for the better; others pave the way to chaos and unimaginable suffering. The lines are never clear. At a breakneck pace and with a wealth of disturbing detail, Labatut uses the imaginative resources of fiction to tell the stories of the scientists and mathematicians who expanded our notions of the possible.

How To Be a Good Wife by Emma Chapman is a haunting literary debut about a woman who begins having visions that make her question everything she knows Marta and Hector have been married for a long time. Through the good and bad; through raising a son and sending him off to life after university. So long, in fact, that Marta finds it difficult to remember her life before Hector. He has always taken care of her, and she has always done everything she can to be a good wife—as advised by a dog-eared manual given to her by Hector's aloof mother on their wedding day. But now, something is changing. Small things seem off. A flash of movement in the corner of her eye, elapsed moments that she can't recall. Visions of a blonde girl in the darkness that only Marta can see. Perhaps she is starting to remember—or perhaps her mind is playing tricks on her. As Marta's visions persist and her reality grows more disjointed, it's unclear if the danger lies in the world around her, or in Marta herself. The girl is growing more real every day, and she wants something.

WINNER OF THE PULITZER PRIZE • NATIONAL BESTSELLER • A searing, post-apocalyptic novel about a father and son's fight to survive, this "tale of survival and the miracle of goodness only adds to McCarthy's stature as a living master. It's gripping, frightening and, ultimately, beautiful" (San Francisco Chronicle). • From the bestselling author of The Passenger A father and his son walk alone through burned America. Nothing moves in the ravaged landscape save the ash on the wind. It is cold enough to crack stones, and when the snow falls it is gray. The sky is dark. Their destination is the coast, although they don't know what, if anything, awaits them there. They have nothing; just a pistol to defend themselves against the lawless bands that stalk the road, the clothes they are wearing, a cart of scavenged food—and each other. The Road is the profoundly moving story of a journey. It boldly imagines a future in which no hope remains, but in which the father and his son, "each the other's world entire," are sustained by love. Awesome in the totality of its vision, it is an unflinching meditation on the worst and the best that we are capable of: ultimate destructiveness, desperate tenacity, and the tenderness that keeps two people alive in the face of total devastation. Look for Cormac McCarthy's latest bestselling novels, The Passenger and Stella Maris.

The mid-1960s through the mid-1970s was a heady, turbulent time. There was a lot going on back then, and author Elisabeth Amaral was in the middle of it all: the fights for womens rights, racial equality, a music revolution, be-ins, love-ins, riots in the streets, the rage against the Vietnam War, and sex, drugs, and rock and roll. It was an amazing time to be young. In Czar Nicholas, The Toad, and Duck Soup, Amaral shares her recollections of those times. She narrates a coming-of-age story about herself and her husband as they embarked on an improbable journey of self-discovery. They gave up their jobs, moved with their infant son from New York City to Boston, unexpectedly started a childrens boutique, and soon opened a popular restaurant in Harvard Square. With sincerity and humor, Czar Nicholas, The Toad, and Duck Soup offers a personal and revealing account that reaches out to those who find themselves striving to make a relationship work that, by its very nature, may be doomed. But this story is also one of friendshipand of finding the courage to move on. Praise for Czar Nicholas, The Toad, and Duck Soup In her intimate and humorous memoir, Liz Amaral reveals the challenges of a young family establishing a home in Cambridge amid the tumult of the late 1960s. You will discover the disconcerting truth about her marriage and the painful path she takes to find herself again. A true adventure of the heart. Kathrin Seitz, writer, producer, and coach

From Ian Williams, author of Reproduction, winner of the Giller Prize and a June 2020 Indie Next Great Read Frustrated by how tough the issues of our time are to solve – racial inequality, our pernicious depression, the troubled relationships we have with other people – Ian Williams revisits the seemingly simple questions of grade school for inspiration: if Billy has five nickels and Jane has three dimes, how many Black men will be murdered by police? He finds no satisfaction, realizing that maybe there are no easy answers to ineffable questions. Williams uses his characteristic inventiveness to find not just new answers but new questions, reconsidering what poetry can be, using math and grammar lessons to shape poems that invite us to participate. Two long poems cut through the text like vibrating basenotes, curiosities circle endlessly, and microaggressions spin into lyric. And all done with a light touch and a joyful sense of humour.

By the acclaimed novelist of All Things Cease to Appear “An intense, provocative thriller.”—Publishers Weekly (starred review) Hedda Chase is a top-flight executive producer at Gladiator Films, fast-tracked in the business since she graduated from Yale. An aggressive businesswoman, she recently pulled the plug on a film project initiated by one of her predecessors. The screenwriter on the project was Hugh Waters, a wannabe with a dead-end marriage and a day job at an insurance company. This script was his ticket out-until Hedda tampered with his plans, claiming his violence was over the top, his premise not credible, and his ending implausible. Hugh decides to prove otherwise by staging his script’s ending and casting Hedda Chase as the victim. He flies to Los Angeles and finds Hedda, kidnaps her, and locks her in the trunk of her vintage BMW in the parking lot at LAX. He leaves the keys in the ignition, the parking ticket on the dash, and lets “destiny” take its course. This is the set-up for a troubling, smart, deadly look at women and images of women, at media as a high-stakes game and the selling of a war as theatre. Brundage’s Los Angeles is a casual battleground that trades carelessly in lives and dreams. As always, her characters are complicated, surprising, and intense in this high velocity, provocative novel.