A New York Times Book Review Editors' Choice "A radiant first novel. . . . [Neon in Daylight] has antecedents in the great novels of the 1970s: Renata Adler’s Speedboat, Elizabeth Hardwick’s Sleepless Nights, Joan Didion’s Play It as It Lays. . . . Precision—of observation, of language—is Hoby’s gift. Her sentences are sleek and tailored. Language molds snugly to thought." —Parul Sehgal, The New York Times "What do you get when a writer of extreme intelligence, insight, style and beauty chronicles the lives of self–absorbed hedonists—The Great Gatsby, Bright Lights, Big City, and now Neon in Daylight. Hermione Hoby paints a garish world that drew me in and held me spellbound. She is a marvel."" —Ann Patchett, author of Commonwealth New York City in 2012, the sweltering summer before Hurricane Sandy hits. Kate, a young woman newly arrived from England, is staying in a Manhattan apartment while she tries to figure out her future. She has two unfortunate responsibilities during her time in America: to make regular Skype calls to her miserable boyfriend back home, and to cat–sit an indifferent feline named Joni Mitchell. The city has other plans for her. In New York's parks and bodegas, its galleries and performance spaces, its bars and clubs crowded with bodies, Kate encounters two strangers who will transform her stay: Bill, a charismatic but embittered writer made famous by the movie version of his only novel; and Inez, his daughter, a recent high school graduate who supplements her Bushwick cafe salary by enacting the fantasies of men she meets on Craigslist. Unmoored from her old life, Kate falls into an infatuation with both of them. Set in a heatwave that feels like it will never break, Neon In Daylight marries deep intelligence with captivating characters to offer us a joyful, unflinching exploration of desire, solitude, and the thin line between life and art.

'What do you get when a writer of extreme intelligence, insight, style and beauty chronicles the lives of self-absorbed hedonists - The Great Gatsby, Bright Lights, Big City, and now Neon in Daylight. Hermione Hoby held me spellbound' Ann Patchett, author of COMMONWEALTH 'Hoby is so good at unpacking all the strange dynamics at work in sex and desire' Emma Cline, author of THE GIRLS 'The perfect book with which to while away those hot summer nights' Independent 'Expect Gatsby-esque hedonism and lyricism' Evening Standard 'You will be transfixed' The Pool 'Smart, shimmering ... glinting with pocketable images and insights ... A vibrant rush of a novel' Observer A New York summer so hot the air is turning yellow. Kate, a young woman newly arrived from London, is determined to become the kind of person who is up for it and down for it - and not remotely troubled over how those two semantically opposed phrases could have come to mean the same thing. In the sweltering city, she encounters Bill, a once-lauded now booze-sodden novelist, and Inez, his teenage daughter who makes extra cash catering to the sexual fantasies of men she has met online - and falls into a complex infatuation with them both.

New York School Painters & Poets charts the collaborative milieu of New York City poets and artists in the mid-twentieth century. This unprecedented volume comprehensively reproduces rare ephemera, collecting and reprinting collaborations, paintings, drawings, poetry, letters, art reviews, photographs, dialogues, manifestos, and memories. Jenni Quilter offers a chronological survey of this milieu, which includes artists such as Willem de Kooning, Robert Motherwell, Alex Katz, Jasper Johns, Fairfield Porter, Larry Rivers, George Schneeman, and Rudy Burckhardt, plus writers John Ashbery, Bill Berkson, Ted Berrigan, Joe Brainard, Edwin Denby, Larry Fagin, Frank O’Hara, Charles North, Ron Padgett, James Schuyler, Anne Waldman, and more. “Giving us for the first time a full picture of the scene these artists and writers shared,” writes Carter Ratcliff in his foreword, “this book illuminates the unities and tensions, the playfulness and glamour and startling authenticity of their collaborations. Here we not only see evidence of a modus operandi. We also feel the exuberance of a certain modus vivendi, a way of life.” By Jenni Quilter, Edited by Allison Power, with Advisory Editors: Bill Berkson and Larry Fagin, and Foreword by Carter Ratcliff.

Named a Summer Must Read by Wall Street Journal, Elle, Harper’s Bazaar, Entertainment Weekly, Glamour, Esquire, Bustle, Town & Country, Good Housekeeping, Refinery29, and more “[Hoby] might have just written the defining New York City novel of our fraught, socially anxious, and politically tumultuous times.” —Interview “Intense and addictive.” —New York Times A powerful novel of youth, desire, and moral conflict, in which a young man is seduced by the mirage of glamour—at terrible cost. Arriving in New York City for an internship at an elite but fading magazine, Luca feels invisible: smart but not worldly, privileged but broke, and uncertain how to navigate a new era of social change. Among his peers is Zara, a young Black woman whose sharp wit and frank views on injustice create tension in the office, especially in the wake of a shock election that’s irrevocably destabilized American life. In the months that follow, as the streets of New York fill with pink-hatted protesters and the magazine faces a changing of the guard, Luca is taken under the wing of an attractive and wealthy white couple—Paula, a prominent artist, and Jason, her filmmaker husband—whose lifestyle he finds both alien and alluring. With the coming of summer, Luca is swept up in the fever dream of their marriage, accepting an invitation to join the couple and their children at their beach house, and nurturing an infatuation both frustrating and dangerous. Only after he learns of a spectacular tragedy in the city he has left behind does he begin to realize the moral consequences of his allegiances. In language at once lyrical and incisive, Virtue offers a clear-eyed, unsettling story of the allure of privilege and the costs of complacency, from a writer of astonishing acuity and vision.

From New York Times bestselling author James Lee Burke comes his definitive, must-read first title in his famous Dectective David Robicheaux series. New Orleans Detective Dave Robicheaux has fought too many battles: in Vietnam, with police brass, with killers and hustlers, and the bottle. Lost without his wife's love, Robicheaux haunts the intense and heady French Quarter—the place he calls home, and the place that nearly destroys him when he beomes involved in the case of a young prostitute whose body is found in a bayou. Thrust into the seedy world of drug lords and arms smugglers, Robicheaux must face down the criminal underworld and come to terms with his own bruised heart and demons to survive.

Josh Chester loves being a Hollywood bad boy, coasting on his good looks, his parties, his parents' wealth, and the occasional modeling gig. But his laid-back lifestyle is about to change. To help out his best friend, Liam, he joins his hit teen TV show, Daylight Falls...opposite Vanessa Park, the one actor immune to his charms. (Not that he's trying to charm her, of course.) Meanwhile, his drama-queen mother blackmails him into a new family reality TV show, with Josh in the starring role. Now that he's in the spotlight-under everyone's terms but his own-Josh has to decide whether a life as a superstar is the one he really wants.?Vanessa Park has always been certain about her path as an actor, despite her parents' disapproval. But with all her relationships currently in upheaval, she's painfully uncertain about everything else. When she meets her new career handler, Brianna, Van is relieved to have found someone she can rely on, now that her best friend, Ally, is at college across the country. But as feelings unexpectedly evolve beyond friendship, Van's life reaches a whole new level of confusing. And she'll have to choose between the one thing she's always loved...and the person she never imagined she could.

Announcing the 2008 recipient of the Yale Younger Poets prize Arda Collins is the 2008 winner of the annual Yale Series of Younger Poets competition. Mesmerizing and electric, her poems seem to be articulated in the privacy of an enclosed space. The poems are concrete and yet metaphysically challenging, both witty and despairing. Collins' emotional complexity and uncommon range make this debut both thrillingly imaginative and ethical in its uncompromising attention to detail. In her Foreword, contest judge Louise Gl ck observes, "I know no poet whose sense of fraud, the inflated emptiness that substitutes for feeling, is more acute." Gl ck calls Collins' volume "savage, desolate, brutally ironic . . . a book of astonishing originality and intensity, unprecedented, unrepeatable."