No Novel

A lush, gripping, psychologically complex novel that asks: How much do siblings owe one another? At the edge of a woods, on the grounds of a defunct “free school,” Ava and her brother, Fred, share a dreamy and seemingly idyllic childhood—a world defined largely by their imaginations, a celebration of curiosity and the natural environment, and each other’s presence. Their parents, progressive educators, believe passionately that children develop best without formal instruction or societal constraint. Everyone is aware of Fred’s oddness—the word “autism” is whispered—but his parents’ fierce disapproval of labels keeps him free of clinical evaluation, diagnosis, or intervention, and constantly at Ava’s side. Decades later, Fred is arrested for a shocking crime, and Ava is frantic to piece together the story of what actually happened. A boy is dead. Fred is held in a county jail. But could he really have done what he’s accused of? By now their parents are long gone, and the siblings have fallen out of touch, which causes Ava considerable guilt. Who is left to reach Fred? To explain him and his innocence to the world? Convinced that she alone can ensure he is regarded with sympathy, Ava tells their enthralling story. A writer of enormous craft, Leah Hager Cohen brings her trademark intelligence and storytelling to a psychologically gripping, richly ambiguous novel that suggests we may ultimately understand one another best not with facts alone, but through our imaginations.

“What a box of tricks! This full-throttle thriller, dark and driving, rivals Agatha Christie for sheer ingenuity and James Patterson for flat-out speed. Swift, sharp, and relentless.” — A. J. Finn, #1 New York Times bestselling author of The Woman in the Window A brilliant, edgy thriller about four strangers, a blizzard, a kidnapped child, and a determined young woman desperate to unmask and outwit a vicious psychopath. A kidnapped little girl locked in a stranger’s van. No help for miles. What would you do? On her way to Utah to see her dying mother, college student Darby Thorne gets caught in a fierce blizzard in the mountains of Colorado. With the roads impassable, she’s forced to wait out the storm at a remote highway rest stop. Inside are some vending machines, a coffee maker, and four complete strangers. Desperate to find a signal to call home, Darby goes back out into the storm . . . and makes a horrifying discovery. In the back of the van parked next to her car, a little girl is locked in an animal crate. Who is the child? Why has she been taken? And how can Darby save her? There is no cell phone reception, no telephone, and no way out. One of her fellow travelers is a kidnapper. But which one? Trapped in an increasingly dangerous situation, with a child’s life and her own on the line, Darby must find a way to break the girl out of the van and escape. But who can she trust? With exquisitely controlled pacing, Taylor Adams diabolically ratchets up the tension with every page. Full of terrifying twists and hairpin turns, No Exit will have you on the edge of your seat and leave you breathless.

No genre manifests the pleasure of reading—and its power to consume and enchant—more than romance. In suspending the category of the novel to rethink the way prose fiction works, Without the Novel demonstrates what literary history looks like from the perspective of such readerly excesses and adventures. Rejecting the assumption that novelistic realism is the most significant tendency in the history of prose fiction, Black asks three intertwined questions: What is fiction without the novel? What is literary history without the novel? What is reading without the novel? In answer, this study draws on the neglected genre of romance to reintegrate eighteenth-century British fiction with its classical and Continental counterparts. Black addresses works of prose fiction that self-consciously experiment with the formal structures and readerly affordances of romance: Heliodorus’s Ethiopian Story, Cervantes’s Don Quixote, Fielding’s Tom Jones, Sterne’s Tristram Shandy, and Burney’s The Wanderer. Each text presents itself as a secondary, satiric adaptation of anachronistic and alien narratives, but in revising foreign stories each text also relays them. The recursive reading that these works portray and demand makes each a self-reflexive parable of romance itself. Ultimately, Without the Novel writes a wider, weirder history of fiction organized by the recurrences of romance and informed by the pleasures of reading that define the genre.

NEW YORK TIMES BESTSELLER • The gripping new Jack Reacher thriller from the #1 New York Times bestselling authors Lee Child and Andrew Child “No Plan B is not to be missed. A perfectly plotted, fast-paced thriller, with bigger twists than ever before. It’s no wonder Jack Reacher is everyone’s favorite rebel hero.”—Karin Slaughter ONE OF THE BEST BOOKS OF THE YEAR: Reader’s Digest In Gerrardsville, Colorado, a woman dies under the wheels of a moving bus. The death is ruled a suicide. But Jack Reacher saw what really happened: A man in a gray hoodie and jeans, moving stealthily, pushed the victim to her demise—before swiftly grabbing the dead woman’s purse and strolling away. When another homicide is ruled an accident, Reacher knows this is no coincidence. With a killer on the loose, Reacher has no time to waste to track down those responsible. But Reacher is unaware that these crimes are part of something much larger and more far-reaching: an arsonist out for revenge, a foster kid on the run, a cabal of powerful people involved in a secret conspiracy with many moving parts. There is no room for error, but they make a grave one. They don’t consider Reacher a threat. “There’s too much at stake to start running from shadows.” But Reacher isn’t a shadow. He is flesh and blood. And relentless when it comes to making things right. For when the threat is Reacher, there is No Plan B.

A collection of highly personal and poetic essays about life, literature, and politics by the renowned German writer, Jenny Erpenbeck Jenny Erpenbeck’s highly acclaimed novel Go, Went, Gone was a New York Times notable book and launched one of Germany’s most admired writers into the American spotlight. In the New Yorker, James Wood wrote: “When Erpenbeck wins the Nobel Prize in a few years, I suspect that this novel will be cited.” On the heels of this literary breakthrough comes , a book of personal, profound, often humorous meditations and reflections. Erpenbeck writes, “With this collection of texts, I am looking back for the first time at many years of my life, at the thoughts that filled my life from day to day.” Starting with her childhood days in East Berlin (“I start with my life as a schoolgirl … my own conscious life begins at the same time as the socialist life of Leipziger Strasse”), Not a Novel provides a glimpse of growing up in the GDR and of what it was like to be twenty-two when the wall collapsed; it takes us through Erpenbeck’s early adult years, working in a bakery after immersing herself in the worlds of music, theater, and opera, and ultimately discovering her path as a writer. There are lively essays about her literary influences (Thomas Bernhard, the Brothers Grimm, Kafka, and Thomas Mann), unforgettable reflections on the forces at work in her novels (including history, silence, and time), and scathing commentaries on the dire situation of America and Europe today. “Why do we still hear laments for the Germans who died attempting to flee over the wall, but almost none for the countless refugees who have drowned in the Mediterranean in recent years, turning the sea into a giant grave?” With deep insight and warm intelligence, Jenny Erpenbeck provides us with a collection of unforgettable essays that take us into the heart and mind of “one of the finest and most exciting writers alive” (Michel Faber).

David Markson was a writer like no other. In his novels, which have been called "hypnotic," "stunning," and "exhilarating" and earned him praise from the likes of Kurt Vonnegut and David Foster Wallace, Ann Beattie and Zadie Smith. Markson created his own personal genre. With crackling wit distilled into incantatory streams of thought on art, life, and death, Markson's work has delighted and astonished readers for decades. Now for the first time, three of Markson's masterpieces are compiled into one page–turning volume: This Is Not a Novel, Vanishing Point, and The Last Novel. In This Is Not a Novel, readers meet an author, called only "Writer," who is weary unto death of making up stories, and yet is determined to seduce the reader into turning pages and getting somewhere. Vanishing Point introduces us to "Author," who sets out to transform shoeboxes crammed with note cards into a novel. In The Last Novel, we find an elderly author (referred to only as "Novelist") who announces that, since this will be his final effort, he possesses "carte blanche to do anything he damn well pleases." United by their focus on the trials, calamities, absurdities and even tragedies of the creative life, these novels demonstrate David Markson's extraordinary intellectual richness—leaving readers, time after time, with the most indisputably original of reading experiences.

In a rural community in western New York, twelve-year-old Kiran Shah, the American-born son of Indian immigrants, longingly observes his prototypically American neighbors, the Bells. He attends school with Kelly Bell, but he’s powerfully drawn—in a way he does not yet understand—to her charismatic father, Chris. Kiran’s yearnings echo his parents’ bewilderment as they try to adjust to a new world. His father, Nishit, a successful doctor, is haunted by thoughts of the brother he left behind. His mother, Shanti, struggles to accept a life with a husband she did not choose and her growing attachment to an American man. Kiran is close to his older sister, Preeti, until an unfathomable betrayal drives a wedge between them that will reverberate through their lives. As he leaves childhood behind, Kiran finds himself perpetually on the outside—as an Indian American torn between two cultures and as a gay man in a homophobic society. In the wake of an emotional breakdown, he travels to India, where he forms an intense bond with a teenage hijra, a member of India’s ancient transgender community. With her help, Kiran begins to pull together the pieces of his broken past.

Chris Baty, motivator extraordinaire and instigator of a wildly successful writing revolution, spells out the secrets of writing—and finishing—a novel. Every fall, thousands of people sign up for National Novel Writing Month (NaNoWriMo), which Baty founded, determined to (a) write that novel or (b) finish that novel in—kid you not—30 days. Now Baty puts pen to paper himself to share the secrets of success. With week-specific overviews, pep "talks," and essential survival tips for today's word warriors, this results-oriented, quick-fix strategy is perfect for people who want to nurture their inner artist and then hit print! Anecdotes and success stories from NaNoWriMo winners will inspire writers from the heralding you-can-do-it trumpet blasts of day one to the champagne toasts of day thirty. Whether it's a resource for those taking part in the official NaNo WriMo event, or a stand-alone handbook for writing to come, No Plot? No Problem! is the ultimate guide for would-be writers (or those with writer's block) to cultivate their creative selves.

Acclaimed and internationally bestselling crime novelist Caz Frear returns with her third superb novel featuring Cat Kinsella, a cop “on par with Susie Steiner’s and Tana French’s female detectives” (Kirkus Reviews). Four victims. Killer caught. Case closed . . . or is it? Growing up in a London family with ties to organized crime, Detective Constable Cat Kinsella knows the criminal world better than most cops do. As a member of the city’s Metropolitan Police, she’s made efforts to distinguish herself from her relatives. But leading an upstanding life isn’t always easy, and Cat has come close to crossing the line, a fact she keeps well hidden from her superiors. Working their latest case, Cat and her partner Luigi Parnell discover a connection to a notorious criminal: serial killer Christopher Masters, who abducted and killed several women in 2012. Though the cops eventually apprehended him, his final victim, Holly Kemp, was never found and he never confessed to her murder, despite the solid eyewitness testimony against him. Now, six years later, the discovery of Holly’s remains near Cambridge seems to be the definitive proof needed to close the case. Still, a few key items of evidence don’t quite line up. As Cat and Parnell look closer, they find discrepancies that raise troubling questions. But someone will do anything to keep past secrets hidden—and as they inch closer to the truth, they may be putting themselves in jeopardy . . .

Velma, a young writer inspired by Zora Neale Hurston, Miriam, a follower of Marcus Garvey, and Louise, a dancer at the Cotton Club, are three sisters growing up in the Harlem Renaissance of the 1920s.