“A fascinating exploration of the mysteries ignited by DNA genealogy testing—from the intensely personal and concrete to the existential and unsolvable.” —Tana French, New York Times–bestselling author You swab your cheek or spit in a vial, then send it away to a lab somewhere. Weeks later you get a report that might tell you where your ancestors came from or if you carry certain genetic risks. Or, the report could reveal a long-buried family secret that upends your entire sense of identity. Soon a lark becomes an obsession, a relentless drive to find answers to questions at the core of your being, like “Who am I?” and “Where did I come from?” Welcome to the age of home genetic testing. In The Lost Family, journalist Libby Copeland investigates what happens when we embark on a vast social experiment with little understanding of the ramifications. She explores the culture of genealogy buffs, the science of DNA, and the business of companies like Ancestry and 23andMe, all while tracing the story of one woman, her unusual results, and a relentless methodical drive for answers that becomes a thoroughly modern genetic detective story. Gripping and masterfully told, The Lost Family is a spectacular book on a big, timely subject. “An urgently necessary, powerful book that addresses one of the most complex social and bioethical issues of our time.” —Dani Shapiro, New York Times–bestselling author “Before you spit in that vial, read this book.” —The New York Times Book Review “Impeccably researched . . . up-to-the-minute science meets the philosophy of identity in a poignant, engaging debut.” —Kirkus Reviews (starred review)

The Lost Family is an extraordinary read, the kind of book that makes you sob and smile, the kind that gives you hope…. It is compassionate, masterful and disturbingly contemporary."—Tatiana de Rosnay, bestselling author of Sarah’s Key The New York Times bestselling author of Those Who Save Us creates a vivid portrait of marriage, family, and the haunting grief of World War II in this emotionally charged, beautifully rendered story that spans a generation, from the 1960s to the 1980s. In 1965 Manhattan, patrons flock to Masha’s to savor its brisket bourguignon and impeccable service and to admire its dashing owner and head chef Peter Rashkin. With his movie-star good looks and tragic past, Peter, a survivor of Auschwitz, is the most eligible bachelor in town. But Peter does not care for the parade of eligible women who come to the restaurant hoping to catch his eye. He has resigned himself to a solitary life. Running Masha’s consumes him, as does his terrible guilt over surviving the horrors of the Nazi death camp while his wife, Masha—the restaurant’s namesake—and two young daughters perished. Then exquisitely beautiful June Bouquet, an up-and-coming young model, appears at the restaurant, piercing Peter’s guard. Though she is twenty years his junior, the two begin a passionate, whirlwind courtship. When June unexpectedly becomes pregnant, Peter proposes, believing that beginning a new family with the woman he loves will allow him to let go of the horror of the past. But over the next twenty years, the indelible sadness of those memories will overshadow Peter, June, and their daughter Elsbeth, transforming them in shocking, heartbreaking, and unexpected ways. Jenna Blum artfully brings to the page a husband devastated by a grief he cannot name, a frustrated wife struggling to compete with a ghost she cannot banish, and a daughter sensitive to the pain of both her own family and another lost before she was born. Spanning three cinematic decades, The Lost Family is a charming, funny, and elegantly bittersweet study of the repercussions of loss and love.

O Khe's arms hugged Canh That tightly, his chin rested on his shoulder, half of his weight was on Canh That's body, his arm slowly moved down, squeezing right where he was just hit by the corner of the table. Canh Qi didn't even need to look to know that the place was bound to be bruised, couldn't help but push him away and said: "This damn brat, you eat iron to grow... pain, let go! ". O Khe hugged him tighter than before, whispered softly in his ear, so low that it was almost inaudible: "I want to kill him...". Canh That froze: "What did you say?". O Khe burst out laughing, the laughter seemed to be squeezed in his throat, and then he couldn't stop it, his voice was hoarse, and it was like carrying a choking cry. Canh That heard him laugh, but goose bumps all over his body, only to hear him sob: "Whoever you like, I will kill that person, I... I want to throw them as bait for the snakes I raise, wait until they're there. when they're all dead, you'll be mine... Ha ha ha... It'll be mine...".

"The victims of this story ... were Thomas Jefferson McGee and his three sons, Daniel, Blair and Hugh and their families. The first two named sons, Daniel and Blair were married and had families of their own at the outbreak of the Civil War. All of these families were destroyed by the war." (p. vi-vii).

Eight years ago, all the members of the Marques family were brutally murdered, except for one, Venia Marques. She has been locked up in the Los Angeles Prison for the past 7 years. Which member of the Marques family has returned from the dead to seek revenge? Why does this murderer leave behind a clue with every dead body? To challenge the police? Or to tell the world what ACTUALLY happened with the Marques family eight years ago? Detective Azriel Rovner must get his hands upon the fugitive before he can create a deadly havoc in the city, and he is in for a dangerous chase of the dead...

He’s looking for the one thing she’s done with: family. Brade Oliver arrives in Grand, Montana, looking for blood—and answers. Genetic tests reveal that his biological family may reside in the small, western town, and he’s on a mission to finally discover the one thing his adoptive family couldn’t give him: the truth. Kendall McKinley craves a normal life, free of the demands, drama, and constraints of her dysfunctional family. Despite being focused on building her career and working on a restoration project, Kendall can’t help herself from noticing a handsome stranger the first night he arrives. But when Brade starts asking uncomfortable questions around town, Kendall is determined to protect her community and friends. The harder she tries to steer Brade away from the answers he seeks, the more he pushes back…and the more irresistible he becomes. Brade is determined to uncover the truth no matter what, and Kendall finds herself torn between keeping the secrets of people she cares for and finding answers for the man she loves.

We live in a world of accelerating change, marked by the decline of traditional forms of family, community, and professional life. Both within families and in work-places individuals feel increasingly lost, unsure of the roles required of them. In this book a psychoanalyst and an Anglican priest, using a combination of psychoanalysis and social systems theory, offer tools that allow people to create meaningful connections with one another and with the institutions within which they work and live. The authors begin by discussing how life in a family prefigures and prepares the individual to participate in groups, offering detailed case studies of families in therapy as illustrations. They then turn to organizations, describing how their consultations with an academic conference, a mental hospital, a law firm, and a church parish helped members of these institutions to relate to one another by becoming aware of wider contexts for their experiences. All the people within a group have their own subjectively felt perceptions of the environment. According to Shapiro and Carr, when individuals can negotiate a shared interpretation of the experience and of the purposes for which the group exists, they can further their own development and that of their organizations. The authors suggest how this can be accomplished. They conclude with some broad speculations about the continuing importance of institutions for connecting the individual and society.