Fast-paced and laugh-out-loud funny, L. Alison Heller’s beloved debut The Love Wars has been heralded as a perfect summer read. Readers will want to cheer on smart and witty lawyer Molly Grant as she juggles work ambitions with finding love. Chock full of heart, The Love Wars is impossible to put down. “Every character in this warm, witty contemporary novel felt so refreshingly true to life.”—Liane Moriarty, author of The Husband's Secret Breaking up is hard to do. At least the first few times. Even though Molly Grant has only a handful of relationships behind her, she’s already been through more divorces than she can count. At the premier Manhattan law firm where she’s a matrimonial attorney, the hours are long, the bosses tyrannical, and the bonuses stratospheric. Her clients are rich, famous, and used to getting their way. Molly’s job—and primary concern in life—is to work as hard as possible to make sure they do. Until she meets the client who changes everything…. Fern Walker is the desperate former wife of a ruthless media mogul. Her powerful ex is slowly pushing her out of her young children’s lives, and she fears losing them forever. Molly—haunted by an incident from her own past—finds herself unable to walk away from Fern and sets out to help her. She just needs to do it without her bosses finding out. Now, as complications both professional and personal stack up, Molly can only hope that her own wits, heart, and instincts are enough—both in and out of court.

“Arrests the heart with its stunning exploration of women who are put through a kind of hell in their determination to find true love . . . extraordinary.” —Angie Cruz, author of Dominicana Finalist for the 2019 PEN/Faulkner Award for Fiction Finalist for the 2018 Foreword Reviews INDIES Award Best Book/Most Anticipated Book/Recommended Read of 2018: Cosmopolitan.com, The Root, Electric Literature, Bustle, Book Riot, PEN America, PopSugar, The Rumpus, B*tch, Remezcla, Mitú, and other publications. Puerto Rican girls are brought up to want one thing: true love. Yet they are raised by women whose lives are marked by broken promises, grief, and betrayal. While some believe that they’ll be the ones to finally make it work, others swear not to repeat cycles of violence. This collection documents how these “love wars” break out across generations as individuals find themselves caught in the crosshairs of romance, expectations, and community. “A tough smart dazzling debut by a tough smart dazzling writer. Ivelisse Rodriguez is a revelation.” —Junot Díaz, Pulitzer Prize-winning author of This Is How You Lose Her “[An] exceptional collection of short stories . . . Filled with memorable characters and sharp writing, this book will leave you breathless.” —Bustle “Rodriguez conceives exquisite misery and makes alchemy of hopelessness in her debut short story collection.” —Electric Literature “[A] perceptive exploration of love, heartbreak, and womanhood.” —The Seattle Review of Books “This reviewer kept returning to [these stories] for their freshness, urgency, and sheer heart.” —Library Journal “Throughout the collection, Rodriguez’s prose pulls you in, and her characters will stay with you even when the stories are only a few pages long.” —BUST “Both heartbreaking and insightful.” —Publishers Weekly “Stunning.” —MyDomaine

The customary cant about being an American Indian goes like this: Indians must live in wide open spaces; they must define their spirituality by chant, dance, and drum; they must pass down their traditions with reverent care; and they must offer tourists Indian art and Indian experiences to take home. On one side of commercial Indianness there is sloppy sentimentality, and on the other, speechless hatred. But what of those born between, like W.S. Penn, with an Anglo parent demanding that Indianness be abandoned and an Indian parent clinging to all that can be held? What of those who grew up in the cities? Can they express more than confusion, frustration, and rage? Are there alternatives to assimilation, submission, or revolt? In All My Sins Are Relatives Penn finds in his own family three generations trying to come to terms with their differences and with their Indianness. Within its pages, Penn describes learning the depths of his love for his grandfather, to whom he dedicated this book. "As arrogant as youth can be, I was often too busy silently grading his grammar to pay real attention and see what he was giving me." Among the gifts was an awareness of what a story could tell, what it could conceal, and what it could never tell. His grandfather inhabited a different sense of time, and it was a long while before Penn lived there, too. When he did, he was back again with a story, working out how Indian writers wrote poetry and prose. In the work of other Indian writers and in his own Penn found that, although white and Indian cultures cannot mingle, they can be bridged. All My Sins Are Relatives is a bridge.

What if the sanctification of war and contempt for women are both grounded in a fear that breeds hostility, and a hostility that rationalizes conquest? The anti-Gospel Christian history of war-loving and women-hating are not merely similar but two aspects of the same dynamic, argues Stan Goff, in an "autobiography" that spans millennia. Borderline is the historical and conceptual autobiography of a former career army veteran transformed by Jesus into a passionate advocate for nonviolence, written by a man who narrates his conversion to Christianity through feminism.