Heartbreaker

Our narrator should be happy, shouldn't she? She's young, thin, pretty, a recent Columbia graduate; she works an easy job at a hip art gallery and lives in an apartment on the Upper East Side of Manhattan paid for, like the rest of her needs, by her inheritance. But there is a dark and vacuous hole in her heart, and it isn't just the loss of her parents, or the way her Wall Street boyfriend treats her, or her sadomasochistic relationship with her best friend, Reva. It's the year 2000 in a city aglitter with wealth and possibility; what could be so terribly wrong? 

In Motherhood, Sheila Heti asks what is gained and what is lost when a woman becomes a mother, treating the most consequential decision of early adulthood with candor, originality, and humor. In her late 30s, when her friends are asking when they will become mothers, the narrator of Heti’s intimate and urgent audiobook considers whether she will do so at all. In a narrative spanning several years, casting among the influence of her peers, partner, and her duties to her forebearers, she struggles to make a wise and moral choice.

America is in the grip of a deadly flu pandemic. When Frank catches the virus, his girlfriend Polly will do whatever it takes to save him, even if it means risking everything. She agrees to a radical plan. Time travel has been invented; if she signs up for a one-way trip into the future to work as a bonded labourer, the company will pay for the life-saving treatment Frank needs. Polly promises to meet Frank again in Galveston, Texas, where she will arrive in 12 years. But when Polly is re-routed an extra five years into the future, Frank is nowhere to be found.

A girl grows up in Nunavut in the 1970s. She knows joy and friendship and parents' love. She knows boredom and listlessness and bullying. She knows the tedium of the everyday world and the raw, amoral power of the ice and sky, the seductive energy of the animal world. She knows the ravages of alcohol and violence at the hands of those she should be able to trust. She sees the spirits that surround her and the immense power that dwarfs all of us. When she becomes pregnant, she must navigate all this.

 At school, Connell and Marianne pretend not to know each other. He’s popular and well-adjusted, star of the school football team, while she is lonely, proud, and intensely private. But when Connell comes to pick his mother up from her job at Marianne’s house, a strange and indelible connection grows between the two teenagers - one they are determined to conceal. A year later, they’re both studying at Trinity College in Dublin. Marianne and Connell circle one another, straying toward other people and possibilities but always magnetically, irresistibly drawn back together. 

In the year 2018, it seems as if women’s anger has suddenly erupted into the public conversation. But long before this, women’s anger was not only politically catalytic - but politically problematic. With eloquence and fervor, Rebecca tracks the history of female anger as political fuel - from suffragettes chaining themselves to the White House to office workers vacating their buildings after Clarence Thomas was confirmed to the Supreme Court. She deconstructs society’s (and the media’s) condemnation of female emotion (notably, rage) and the impact of resulting repercussions.

Exquisitely imagined and hypnotically told, The Lonely Hearts Hotel is a love story with the power of legend. Set in the early part of the 20th century, it is an unparalleled tale of abandoned children, radicalized chorus girls, drug-addicted musicians, brooding clowns, and an underworld whose fortune hinges on the price of a kiss. In a landscape like this, it takes great creative gifts to escape one's origins. It might also take true love.

When two English brothers arrive at a Barbados sugar plantation, they bring with them a darkness beyond what the slaves have already known. Washington Black - an 11-year-old field slave - is horrified to find himself chosen to live in the quarters of one of these men. But the man is not as Washington expects him to be. His new master is the eccentric Christopher Wilde - naturalist, explorer, inventor and abolitionist - whose obsession to perfect a winged flying machine disturbs all who know him. 

The sun rises on a quiet June morning in 2009. August Epp sits alone in the hayloft of a barn, anxiously bent over his notebook. He writes quickly, aware that his solitude will soon be broken. Eight women - ordinary grandmothers, mothers, and teenagers; yet to August, each one extraordinary - will climb the ladder into the loft, and the day's true task will begin. This task will be both simple and subversive: August, like the women, is a traditional Mennonite, and he has been asked to record a secret conversation. They have 48 hours to make a life-altering choice on behalf of all the women and children in the colony.

Heart Berries is a powerful, poetic memoir of a woman's coming of age on the Seabird Island Indian Reservation in British Columbia. Having survived a profoundly dysfunctional upbringing only to find herself hospitalized and facing a dual diagnosis of post-traumatic stress disorder and bipolar II, Terese Mailhot is given a notebook and begins to write her way out of trauma. 

Have you ever wondered what it would be like talk to Parker Posey? On an airplane, with Parker as your seat companion, perhaps? Parker’s irreverent, hilarious, and enchanting memoir gives you the incredible opportunity. Full of personal stories, whimsical how-tos, recipes, and beautiful handmade collages created by the author herself, You’re On an Airplane is a delight in every way.

Frances Price - tart widow, possessive mother, and Upper East Side force of nature - is in dire straits, beset by scandal and impending bankruptcy. Her adult son Malcolm is no help, mired in a permanent state of arrested development. And then there’s the Price’s aging cat, Small Frank, who Frances believes houses the spirit of her late husband, an infamously immoral litigator and world-class cad whose gruesome tabloid death rendered Frances and Malcolm social outcasts. Putting penury and pariahdom behind them, the family decides to cut their losses and head for the exit.

With winter looming, a small northern Anishinaabe community goes dark. Cut off, people become passive and confused. Panic builds as the food supply dwindles. While the band council and a pocket of community members struggle to maintain order, an unexpected visitor arrives, escaping the crumbling society to the south. Soon after, others follow. Frustrated by the building chaos, a group of young friends and their families turn to the land and Anishinaabe tradition in hopes of helping their community thrive again.

Vivek Shraya has reason to be afraid. Throughout her life she's endured acts of cruelty and aggression for being too feminine as a boy and not feminine enough as a girl. In order to survive childhood, she had to learn to convincingly perform masculinity. As an adult, she makes daily compromises to steel herself against everything from verbal attacks to heartbreak. Now, with raw honesty, Shraya delivers an important record of the cumulative damage caused by misogyny, homophobia, and transphobia, releasing trauma from a body that has always refused to assimilate.

In the era of colorblindness, it is no longer socially permissible to use race, explicitly, as a justification for discrimination, exclusion, and social contempt. Yet, as legal star Michelle Alexander reveals, today it is perfectly legal to discriminate against convicted criminals in nearly all the ways that it was once legal to discriminate against African Americans.