From the Emmy, PEN, Peabody, Critics’ Choice, and Golden Globe Award-winning creator of the TV show Fargo comes the thriller of the year.
On a foggy summer night, 11 people – 10 privileged, one down-on-his-luck painter – depart Martha’s Vineyard on a private jet headed for New York. Sixteen minutes later the unthinkable happens: The plane plunges into the ocean. The only survivors are Scott Burroughs – the painter – and a four-year-old boy who is now the last remaining member of an immensely wealthy and powerful media mogul’s family.
With chapters weaving between the aftermath of the crash and the backstories of the passengers and crew members – including a Wall Street titan and his wife, a Texan-born party boy just in from London, a young woman questioning her path in life, and a career pilot – the mystery surrounding the tragedy heightens. As the passengers’ intrigues unravel, odd coincidences point to a conspiracy. Was it merely by dumb chance that so many influential people perished? Or was something far more sinister at work? Events soon threaten to spiral out of control in an escalating storm of media outrage and accusations. And while Scott struggles to cope with fame that borders on notoriety, the authorities scramble to salvage the truth from the wreckage.
Amid pulse-quickening suspense, the fragile relationship between Scott and the young boy glows at the heart of this stunning novel, raising questions of fate, human nature, and the inextricable ties that bind us together.
Now in his mid-thirties, Nathan Zuckerman, a would-be recluse despite his newfound fame as a bestselling author, ventures onto the streets of Manhattan in the final year of the turbulent sixties. Not only is he assumed by his fans to be his own fictional satyr, Gilbert Carnovsky (“Hey, you do all that stuff in that book?”), but he also finds himself the target of admonishers, advisers, and sidewalk literary critics. The recent murders of Robert Kennedy and Martin Luther King, Jr., lead an unsettled Zuckerman to wonder if “target” may be more than a figure of speech.
In Zuckerman Unbound—the second volume of the trilogy and epilogue Zuckerman Bound—the notorious novelist Nathan Zuckerman retreats from his oldest friends, breaks his marriage to a virtuous woman, and damages, perhaps irreparably, his affectionate connection to his younger brother…and all because of his great good fortune!
Combining the atmosphere of Jess Walter’s Beautiful Ruins with the intriguing historical backstory of Christina Baker Kline’s Orphan Train, Deborah Lawrenson’s mesmerizing novel transports readers to a sunny Portuguese town with a shadowy past—where two women, decades apart, are drawn into a dark game of truth and lies that still haunts the shifting sea marshes.
Traveling to Faro, Portugal, journalist Joanna Millard hopes to escape an unsatisfying relationship and a stalled career. Faro is an enchanting town, and the seaside views are enhanced by the company of Nathan Emberlin, a charismatic younger man. But behind the crumbling facades of Moorish buildings, Joanna soon realizes, Faro has a seedy underbelly, its economy compromised by corruption and wartime spoils. And Nathan has an ulterior motive for seeking her company: he is determined to discover the truth involving a child’s kidnapping that may have taken place on this dramatic coastline over two decades ago.
Every day Christine wakes up not knowing where she is. Her memories disappear every time she falls asleep. Her husband, Ben, is a stranger to her, and he’s obligated to explain their life together on a daily basis–all the result of a mysterious accident that made Christine an amnesiac. With the encouragement of her doctor, Christine starts a journal to help jog her memory every day. One morning, she opens it and sees that she’s written three unexpected and terrifying words: “Don’t trust Ben.” Suddenly everything her husband has told her falls under suspicion. What kind of accident caused her condition? Who can she trust? Why is Ben lying to her? And, for the reader: Can Christine’s story be trusted? At the heart of S. J. Watson’s Before I Go To Sleep is the petrifying question: How can anyone function when they can’t even trust themselves? Suspenseful from start to finish, the strength of Watson’s writing allows Before I Go to Sleep to transcend the basic premise and present profound questions about memory and identity. One of the best debut literary thrillers in recent years, Before I Go to Sleep deserves to be one of the major blockbusters of the summer.
The brilliant, mind-bending return to science fiction by one of its most acclaimed visionaries
Below the neon skies of Dayzone – where the lights never go out, and night has been banished – lowly private eye John Nyquist takes on a teenage runaway case. His quest takes him from Dayzone into the permanent dark of Nocturna.
As the vicious, seemingly invisible serial killer known only as Quicksilver haunts the streets, Nyquist starts to suspect that the runaway girl holds within her the key to the city’s fate. In the end, there’s only one place left to search: the shadow-choked zone known as Dusk.
In 1627 a shipload of children makes its way to the colony of Jamestown. The children are not passengers but cargo to be sold into servitude. Only two people aren’t destined for this sad fate–Kimberly Hollis and her mother, who are sailing to America to join Kimberly’s father. The voyage won’t be easy. Not only is the main hold dirty and crowded with homeless children, the crew of the Seven Brothers ship will have to courageously battle a fierce storm. Kimberly and the captives must rely on each other and God to make it safely to the New World. Recommended for ages 10-13.
This extraordinary magnum opus seems at first to be a confessional autobiographical novel in the grand manner, claiming and extending the legacy of Proust and Mann. But it is more: Peter Nadas has given us a superb contemporary psychological novel that comes to terms with the ghosts, corpses, and repressed nightmares of Europe’s recent past. “A Book of Memories” is made up of three first-person narratives: the first that of a young Hungarian writer and his fated love for a German poet; we also learn of the narrator’s adolescence in Budapest, when he experiences the downfall of his once-upper-class but now pro-Communist family and of his beloved but repudiated father, a state prosecutor who commits suicide after the 1956 uprising. A second memoir, alternating with the first, is a novel the narrator is composing about a refined Belle Epoque aesthete, whose anti-bourgeois transgressions seem like emotionally overcharged versions of the narrator’s own experiences. A third voice is that of a childhood friend who, after the narrator’s return to his homeland, offers an apparently more objective account of their friendship. Together these brilliantly colored lives are integrated in a powerful work of tragic intensity.