In I Didn’t Come Here to Make Friends former Bachelor “villain” and season 16 winner Courtney Robertson shares her story of love and heartbreak, and the reality of appearing on reality TV. For the first time ever, a former Bachelor contestant takes us along on her journey to find love and reveals that “happily ever after” isn't always what it seems.

Skip the small talk and learn how to build a supportive community, engage with new people, and cultivate authentic, long-lasting friendships at every stage of life. It sometimes seems like everyone has a big, happy, fulfilling social life, full of lifelong friendships...except you. As we grow older and school friendships fade, it can be difficult to meet new people and cultivate meaningful friendships. How do you strike up a conversation with a stranger? How do you move from mutual acquaintances to real friends? Here to Make Friends has the answers to all of these questions and more. Written by a licensed therapist, this book is packed full of helpful advice and tips to overcome social anxiety and start building a stronger social circle, such as: Tips for moving past small talk Advice for getting out of your own head Suggestions for fun and memorable “friend dates” Strategies for connecting meaningfully with other people Everyone wants to feel connected. Here to Make Friends is the perfect companion for moving past the sometimes-lonely post-school stage and into lasting, fulfilling friendships.

In this “full-on villain romance” (The New York Times) a group of women on a reality dating show should be vying for the love of their Romeo, but it turns out one of them only has eyes for the showrunner. Murray O’Connell is standing on the greatest precipice of his career. As showrunner of the reality dating show Marry Me, Juliet, Murray is determined to make this season a success. Nothing and nobody will stand in his way. Except perhaps Lily Fireball, the network’s choice for this season’s villain. Lily has classic reality TV appeal: She’s feisty, dramatic, and never backs down from a fight. She also happens to be Murray’s estranged best friend and former co-showrunner. What was once a perfectly planned season turns to chaos as the two battle for control. Working in reality television, they’re used to drama, secrets, and romance. But what happens when suddenly they’re at the center of the storyline?

The Underground Poetry Metro Transportation System for Souls collects 16 essays by late Tony Hoagland. Gathered by Hoagland himself into a volume for the Poets on Poetry series, these pieces grapple with an expansive range of poetic and cultural concerns—and the surprising and necessary knowledge to be found where they cross paths. His trademark humor and irony, at once approachable, thoughtful, and sophisticated, lead the way toward clear-eyed, sometimes difficult, considerations of contemporary American culture. Through his curiosity, he elevates the seemingly quotidian into a profound subject worthy of close consideration. Hoagland’s generosity of spirit imbues his work with empathy for experiences beyond his own, and his honesty allows him to turn a critical eye on himself and to acknowledge the limits of his understanding. This collection will be rewarding not just for readers of contemporary poetry, but for anyone who wants to step back, take a look at our American reality, and know we’ll be okay.

The death of a mother alters forever a family’s story of itself. Indeed, it taxes the ability of a family to tell that story at all. The Accounts narrates the struggle to speak with any clear understanding in the wake of that loss. The title poem attempts three explanations of the departure of a life from the earth—a physical account, a psychological account, and a spiritual account. It is embedded in a long narrative sequence that tries to state plainly the facts of the last days of the mother’s life, in a room that formerly housed a television, next to a California backyard. The visual focus of that sequence, a robin’s nest, poised above the family home, sings in a kind of lament, giving its own version of ways we can see the transformation of the dying into the dead. In other poems, called “Arguments,” two voices exchange uncertain truths about subjects as high as heaven and as low as crime. Grief is a problem that cannot be solved by thinking, but that doesn’t stop the mind, which relentlessly carries on, trying in vain to settle its accounts. The death of a well-loved person creates a debt that can never be repaid. It reminds the living of our own psychological debts to each other, and to the dead. In this sense, the death of this particular mother and the transformation of this particular family are evocative of a greater struggle against any changing reality, and the loss of all beautiful and passing forms of order.

Investigative reporter Sarah Newton debunks supernatural myths, and forces the truth to light whether people want to hear it or not. Now, with a popular teenager found tortured and murdered—and another girl missing—Sarah's out to prove it's not the work of an ancient curse, but a cold blooded killer. She'll expose one Maine village's darkest secrets ...while keeping the truth about her own past hidden from view. As Youngstown's newest councilman, Kale Conner's unofficial job is to minimize the bad publicity from Sarah's stories and, if possible, to keep her in line. But with time running out, and his own family at stake, Kale's finding his neighbors' terrible deeds might be too deadly to sweep under the rug...and he and Sarah are headed toward a heated endgame with only one shocking way out...

“Text Me has the thrills and laughs of a romantic comedy, but with an inverted message: ‘There just isn't only one love story in our lives,’ Schaefer writes. If you’re lucky, friends will be the protagonists in these multiple love stories. It’s high time that we start seeing it that way.”—NPR.org A personal and sociological examination—and ultimately a celebration—of the evolution of female friendship in pop culture and modern society For too long, women have been told that we are terrible at being friends, that we can’t help being cruel or competitive, or that we inevitably abandon each other for romantic partners. But we are rejecting those stereotypes and reclaiming the power of female friendship. In Text Me When You Get Home, journalist Kayleen Schaefer interviews more than one hundred women about their BFFs, soulmates, girl gangs, and queens while tracing this cultural shift through the lens of pop culture. Our love for each other is reflected in Abbi and Ilana, Issa and Molly, #squadgoals, the acclaim of Girls Trip and Big Little Lies, and Galentine’s Day. Schaefer also includes her own history of grappling with a world that told her to rely on men before she realized that her true source of support came from a strong tribe of women. Her personal narrative and celebration of her own relationships weaves throughout the evolution of female friendship on-screen, a serious look at how women have come to value one another and our relationships. Text Me When You Get Home is a validation that has never existed before. A thoughtful, heart-soaring, deeply reported look at how women are taking a stand for their friendships and not letting go.