Longlisted for the 2019 Center for Fiction First Novel Prize, Ryan Chapman’s “gritty, bracing debut” (Esquire) set during a prison riot is “dark, daring, and laugh-out-loud hilarious…one of the smartest—and best—novels of the year” (NPR). A largescale riot rages through Westbrook prison in upstate New York, incited by a poem in the house literary journal. Our unnamed narrator, barricaded inside the computer lab, swears he’s blameless—even though, as editor-in-chief, he published the piece in question. As he awaits violent interruption by his many, many enemies, he liveblogs one final Editor’s Letter. Riots I Have Known is his memoir, confession, and act of literary revenge. His tale spans a childhood in Sri Lanka, navigating the postwar black markets and hotel chains; employment as a Park Avenue doorman, serving the widows of the one percent; life in prison, with the silver lining of his beloved McNairy; and his stewardship of The Holding Pen, a “masterpiece of post-penal literature” favored by Brooklynites everywhere. All will be revealed, and everyone will see he’s really a good guy, doing it for the right reasons. “Fitfully funny and murderously wry,” Riots I Have Known is “a frenzied yet wistful monologue from a lover of literature under siege” (Kirkus Reviews).

From an award-winning writer and linguist, a scientific and personal meditation on the phenomenon of language loss and the possibility of renewal. As a child Julie Sedivy left Czechoslovakia for Canada, and English soon took over her life. By early adulthood she spoke Czech rarely and badly, and when her father died unexpectedly, she lost not only a beloved parent but also her firmest point of connection to her native language. As Sedivy realized, more is at stake here than the loss of language: there is also the loss of identity. Language is an important part of adaptation to a new culture, and immigrants everywhere face pressure to assimilate. Recognizing this tension, Sedivy set out to understand the science of language loss and the potential for renewal. In Memory Speaks, she takes on the psychological and social world of multilingualism, exploring the human brainÕs capacity to learnÑand forgetÑlanguages at various stages of life. But while studies of multilingual experience provide resources for the teaching and preservation of languages, Sedivy finds that the challenges facing multilingual people are largely political. Countering the widespread view that linguistic pluralism splinters loyalties and communities, Sedivy argues that the struggle to remain connected to an ancestral language and culture is a site of common ground, as people from all backgrounds can recognize the crucial role of language in forming a sense of self. Distinctive and timely, Memory Speaks combines a rich body of psychological research with a moving story at once personal and universally resonant. As citizens debate the merits of bilingual education, as the worldÕs less dominant languages are driven to extinction, and as many people confront the pain of language loss, this is badly needed wisdom.

NEW YORK TIMES BESTSELLER • SOON TO BE AN FX LIMITED SERIES STREAMING ON HULU • NATIONAL BOOK CRITICS CIRCLE AWARD WINNER • From the author of Empire of Pain—a stunning, intricate narrative about a notorious killing in Northern Ireland and its devastating repercussions. One of The New York Times’s 20 Best Books of the 21st Century "Masked intruders dragged Jean McConville, a 38-year-old widow and mother of 10, from her Belfast home in 1972. In this meticulously reported book—as finely paced as a novel—Keefe uses McConville's murder as a prism to tell the history of the Troubles in Northern Ireland. Interviewing people on both sides of the conflict, he transforms the tragic damage and waste of the era into a searing, utterly gripping saga." —New York Times Book Review "Reads like a novel ... Keefe is ... a master of narrative nonfiction. . .An incredible story."—Rolling Stone A Best Book of the Year: The New York Times, The Washington Post, The Wall Street Journal, TIME, NPR, and more! Jean McConville's abduction was one of the most notorious episodes of the vicious conflict known as The Troubles. Everyone in the neighborhood knew the I.R.A. was responsible. But in a climate of fear and paranoia, no one would speak of it. In 2003, five years after an accord brought an uneasy peace to Northern Ireland, a set of human bones was discovered on a beach. McConville's children knew it was their mother when they were told a blue safety pin was attached to the dress--with so many kids, she had always kept it handy for diapers or ripped clothes. Patrick Radden Keefe's mesmerizing book on the bitter conflict in Northern Ireland and its aftermath uses the McConville case as a starting point for the tale of a society wracked by a violent guerrilla war, a war whose consequences have never been reckoned with. The brutal violence seared not only people like the McConville children, but also I.R.A. members embittered by a peace that fell far short of the goal of a united Ireland, and left them wondering whether the killings they committed were not justified acts of war, but simple murders. From radical and impetuous I.R.A. terrorists such as Dolours Price, who, when she was barely out of her teens, was already planting bombs in London and targeting informers for execution, to the ferocious I.R.A. mastermind known as The Dark, to the spy games and dirty schemes of the British Army, to Gerry Adams, who negotiated the peace but betrayed his hardcore comrades by denying his I.R.A. past--Say Nothing conjures a world of passion, betrayal, vengeance, and anguish.

The bestselling, award-winning modern classic Speak is now a stunning graphic novel—adapted by Laurie Halse Anderson herself and brought to life visually by Eisner Award winner Emily Carroll. "Speak up for yourself—we want to know what you have to say." From the first moment of her freshman year at Merryweather High, Melinda knows this is a big lie, part of the nonsense of high school. She is friendless, an outcast, because she busted an end-of-summer party by calling the cops. Now nobody will talk to her, let alone listen to her. As time passes, Melinda becomes increasingly isolated and practically stops talking altogether. Only her art class offers any solace, and it is through her work on an art project that she is finally able to face what really happened at that terrible party: she was raped by an upperclassman, a guy who still attends Merryweather and is still a threat to her. Her healing process has just begun when she has another violent encounter with him. But this time Melinda fights back—and refuses to be silent. The groundbreaking National Book Award Finalist and Michael L. Printz Honor Book about consent, healing, and finding your voice comes alive for new audiences and fans of the original novel in Speak: The Graphic Novel.

Speak, Memory, first published in 1951 as Conclusive Evidence and then assiduously revised in 1966, is an elegant and rich evocation of Nabokov's life and times, even as it offers incisive insights into his major works, including Lolita, Pnin, Despair, The Gift, The Real Life of Sebastian Knight, and The Defense.

In this elegant and affecting companion to her "extraordinary" memoir, Borrowed Finery, a young writer flings herself into a Europe ravaged by the Second World War (The Boston Globe) In 1946, Paula Fox walked up the gangplank of a partly reconverted Liberty with the classic American hope of finding experience—or perhaps salvation—in Europe. She was twenty-two years old, and would spend the next year moving among the ruins of London, Warsaw, Paris, Prague, Madrid, and other cities as a stringer for a small British news service. In this lucid, affecting memoir, Fox describes her movements across Europe's scrambled borders: unplanned trips to empty castles and ruined cathedrals, a stint in bombed-out Warsaw in the midst of the Communist election takeovers, and nights spent in apartments here and there with distant relatives, friends of friends, and in shabby pensions with little heat, each place echoing with the horrors of the war. A young woman alone, with neither a plan nor a reliable paycheck, Fox made her way with the rest of Europe as the continent rebuilt and rediscovered itself among the ruins. Long revered as a novelist, Fox won over a new generation of readers with her previous memoir, Borrowed Finery. Now, with The Coldest Winter, she recounts another chapter of a life seemingly filled with stories—a rare, unsentimental glimpse of the world as seen by a writer at the beginning of an illustrious career.

Can trauma be inherited? In this luminous memoir of identity, exile, ancestry, and reckoning, an American writer returns to Russia to face a family history that still haunts him. It is this question that sets Alex Halberstadt off on a quest to name and acknowledge a legacy of family trauma, and to end a cycle of estrangement that had endured for nearly a century. His search takes him across the troubled, enigmatic land of his birth. In Ukraine he tracks down his paternal grandfather--most likely the last living bodyguard of Joseph Stalin--to reckon with the ways in which decades of Soviet totalitarianism shaped and fractured three generations of his family. He returns to Lithuania, his Jewish mother's home, to revisit the legacy of the Holocaust and the pernicious anti-Semitism that remains largely unaccounted for, learning that the boundary between history and biography is often fragile and indistinct. And he visits his birthplace, Moscow, where his glamorous grandmother designed homespun couture for Soviet ministers' wives, his mother dosed dissidents at a psychiatric hospital, and his father made a living by selling black-market jazz and rock records. Finally, Halberstadt explores his own story: that of a fatherless immigrant who arrived in America, to a housing project in Queens, New York, as a ten-year-old boy struggling with identity, feelings of rootlessness, and a yearning for home. He comes to learn that he was merely the latest in a lineage of sons who grew up alone, separated from their fathers by the tides of politics and history. As Halberstadt revisits the sites of his family's formative traumas, he uncovers a multigenerational transmission of fear, suspicion, melancholy, and rage. And he comes to realize something more: Nations, like people, possess formative traumas that penetrate into the most private recesses of their citizens' lives.