Take a decadent and sizzling armchair vacation to the South of France this summer … Josie thought she was getting a promotion at her architectural firm, but instead her career implodes. She impulsively takes up her roommates' offer to nanny for a little girl on a mega yacht in the South of France. Even though she can't stand boats, this seems like fate giving her an opportunity to lick her wounds in a bucket list paradise while she figures out how to get her life back. But this little girl she's arrived to look after has a daddy. A widowed, hot, billionaire of a daddy. And if there's anything that Josie needs less than having to be stuck on a yacht, no matter how luxurious, it's an inconvenient and highly-combustible attraction to her new boss. A man who, for all his wealth, is grumpy, conceited, and utterly closed off. Xavier Pascale is on an emotional island of his own making. It's just him and his daughter and he likes it that way. He works hard, his shareholders are happy, his best friends are his bodyguard, and the people who work for him. What's wrong with that? But then he meets Josephine Marin. Her arrival in his life is like an earth tremor along a catastrophic emotional fault line. And now... well, now, he's very, very aware of his isolation and his very human need. But he can't be distracted. When he gets distracted terrible things happen. He should send her home. He really should. But what if he just takes what he wants, just this one time ...

'One of the most talented crime writers alive' Washington Post 'I've been enthusiastically telling everyone who will listen to read Tana French' Harlan Coben, author of Safe Sometimes there is no safe place. Nothing about the way this family lived shows why they deserved to die. But here's the thing about murder: ninety-nine times out of a hundred, it doesn't break into people's lives. It gets there because they open the door and invite it in... In Broken Harbour, a ghost estate outside Dublin - half-built, half-inhabited, half-abandoned - two children and their father are dead. The mother is on her way to intensive care. Scorcher Kennedy is given the case because he is the Murder squad's star detective. At first he and his rookie partner, Richie, think this is a simple one: Pat Spain was a casualty of the recession, so he killed his children, tried to kill his wife Jenny, and finished off with himself. But there are too many inexplicable details and the evidence is pointing in two directions at once. Scorcher's personal life is tugging for his attention. Seeing the case on the news has sent his sister Dina off the rails again, and she's resurrecting something that Scorcher thought he had tightly under control: what happened to their family, one summer at Broken Harbour, back when they were children. The neat compartments of his life are breaking down, and the sudden tangle of work and family is putting both at risk . . .

An irreverent, allusive, scatalogical, tragicomic masterpiece that centers on the patrons of a run-down bar as they try to document the details of their lives in a country that appears to have forgotten the importance of remembering. In Republic of the Congo, in the town of Trois-Cents, in a bar called Credit Gone West, a former schoolteacher known as Broken Glass drinks red wine and records the stories of the bar and its regulars for posterity: Stubborn Snail, the owner, who must battle church people, ex-alcoholics, tribal leaders, and thugs set on destroying him and his business; the Printer, who had his respectable life in France ruined by a white woman, his wife; Robinette, who could outdrink and outpiss any man; and Broken Glass himself, whose own tale involves as much heartbreak, squalor, disappointment, and delusion. But Broken Glass fails spectacularly at staying out of trouble as one denizen after another wants to rewrite history in an attempt at making sure his portrayal will properly reflect their exciting and dynamic lives. Despondent over this apparent triumph of self-delusion over self-awareness, Broken Glass drowns his sorrows and riffs on the great books of Africa and the West. Brimming with life, death, and literary allusions, Broken Glass is Mabanckou's finest novel--a mocking satire of the dangers of artistic integrity.

In this delightful memoir, the book critic for NPR’s Fresh Air reflects on her life as a professional reader. Maureen Corrigan takes us from her unpretentious girlhood in working-class Queens, to her bemused years in an Ivy League Ph.D. program, from the whirl of falling in love and marrying (a fellow bookworm, of course), to the ordeal of adopting a baby overseas, always with a book at her side. Along the way, she reveals which books and authors have shaped her own life—from classic works of English literature to hard-boiled detective novels, and everything in between. And in her explorations of the heroes and heroines throughout literary history, Corrigan’s love for a good story shines.

IRA Notable Books for a Global Society selection Hiding behind an armchair, five-year-old Emma does not witness the murder of her mother, but she hears everything. And when the assassins finally leave, the young Tutsi girl somehow manages to stumble away from the scene, motivated only by the memory of her mother's last words: "You must not die, Emma!" Eventually Emma is taken in by an old Hutu woman who risks her own life to hide the child. Emma stays with the old woman and a quiet bond forms between the two, but long after the war ends, the young girl is still haunted by nightmares. When the country establishes courts to allow victims to face their tormenters in their villages, Emma is uneasy and afraid. But through her growing friendship with a young torture victim and the gentle encouragement of an old man charged with helping child survivors, Emma finds the courage to return to the house where her mother was killed and begin the journey to healing.

Over a span of thirty years, twentieth-century French philosophers Emmanuel Levinas and Jacques Derrida held a conversation across texts. Sharing a Jewish heritage and a background in phenomenology, both came to situate their work at the margins of philosophy, articulating this placement through religion and literature. Chronicling the interactions between these thinkers, Sarah Hammerschlag argues that the stakes in their respective positions were more than philosophical. They were also political. Levinas's investments were born out in his writings on Judaism and ultimately in an evolving conviction that the young state of Israel held the best possibility for achieving such an ideal. For Derrida, the Jewish question was literary. The stakes of Jewish survival could only be approached through reflections on modern literature's religious legacy, a line of thinking that provided him the means to reconceive democracy. Hammerschlag's reexamination of Derrida and Levinas's textual exchange not only produces a new account of this friendship but also has significant ramifications for debates within Continental philosophy, the study of religion, and political theology.

Best Book of 2020 New York Times |NPR | New York Post "This hushed suspense tale about thwarted dreams of escape may be her best one yet . . . Its own kind of masterpiece." --Maureen Corrigan, The Washington Post "A new Tana French is always cause for celebration . . . Read it once for the plot; read it again for the beauty and subtlety of French's writing." --Sarah Lyall, The New York Times Cal Hooper thought a fixer-upper in a bucolic Irish village would be the perfect escape. After twenty-five years in the Chicago police force and a bruising divorce, he just wants to build a new life in a pretty spot with a good pub where nothing much happens. But when a local kid whose brother has gone missing arm-twists him into investigating, Cal uncovers layers of darkness beneath his picturesque retreat, and starts to realize that even small towns shelter dangerous secrets. "One of the greatest crime novelists writing today" (Vox) weaves a masterful, atmospheric tale of suspense, asking how to tell right from wrong in a world where neither is simple, and what we stake on that decision.