Hunter. Autumn. Summer. Different homes. Different guardians. Different last names. Different lives. But there is one person who binds them together. Kristina.

Nineteen years after Kristina Snow met the monster---crank---her children are reeling from the consequences of her decisions. Instead of one big, happy family, they are a desperate tangle of scattered lives united by anger, doubt, and fear.

A predisposition to addiction and a sense of emptiness where a mother's love should be leads all three down the road of their mother's notorious legacy. Sex, drugs, alcohol, abuse---there is more of Kristina in her children than they would ever like to believe. But when the thread that ties them together brings them face-to-face, they'll discover something powerful in each other and in themselves---the trust, the hope, the courage to begin to break the cycle.

Fallout is bestselling author Ellen Hopkins's riveting conclusion to her trilogy begun by Crank and Glass. It is a revelation and a testament to the harsh reality that addiction is never just one person's problem.

In Crank, Ellen Hopkins chronicles the turbulent and often disturbing relationship between Kristina, a character based on her own daughter, and the "monster," the highly addictive drug crystal meth, or "crank." Kristina is introduced to the drug while visiting her largely absent and ne'er-do-well father. While under the influence of the monster, Kristina discovers her sexy alter-ego, Bree:

"there is no perfect daughter, / no gifted high school junior, / no Kristina Georgia Snow. / There is only Bree." Bree will do all the things good girl Kristina won't, including attracting the attention of dangerous boys who can provide her with a steady flow of crank.

You may not know it, but you've met Augusten Burroughs. You've seen him on the street, in bars, on the subway, at restaurants: a twentysomething guy, nice suit, works in advertising. Regular. Ordinary. But when the ordinary person had two drinks, Augusten was circling the drain by having twelve; when the ordinary person went home at midnight, Augusten never went home at all. Loud, distracting ties, automated wake-up calls, and cologne on the tongue could only hide so much for so long. At the request (well, it wasn't really a request) of his employers, Augusten lands in rehab, where his dreams of group therapy with Robert Downey Jr. are immediately dashed by the grim reality of fluorescent lighting and paper hospital slippers. But when Augusten is forced to examine himself, something actually starts to click, and that's when he finds himself in the worst trouble of all. Because when his thirty days are up, he has to return to his same drunken Manhattan life--and live it sober. What follows is a memoir that's as moving as it is funny, as heartbreaking as it is true. Dry is the story of love, loss, and Starbucks as a Higher Power.

Eugene O'Neill's autobiographical play Long Day's Journey into Night is regarded as his finest work. First published by Yale University Press in 1956, it has since sold more than one million copies. This edition includes a new foreword by Harold Bloom.

The action covers a fateful, heart-rending day from around 8:30 am to midnight, in August 1912 at the seaside Connecticut home of the Tyrones - the semi-autobiographical representations of O'Neill himself, his older brother, and their parents at their home, Monte Cristo Cottage.

One theme of the play is addiction and the resulting dysfunction of the family. All three males are alcoholics and Mary is addicted to morphine. They all constantly conceal, blame, resent, regret, accuse and deny in an escalating cycle of conflict with occasional desperate and half-sincere attempts at affection, encouragement and consolation.

Novel with Cocaine delves into the depths of an adolescent's cocaine addiction, presenting a Dostoevskian psychological novel of ideas. It explores the complex interplay between psychology, philosophy, and ideology through the story of Vadim, who, after formative experiences at school and with women, succumbs to drug abuse and the philosophical reflections it provokes.

Though the narrative makes little direct reference to the Revolution, it's set against a backdrop where the obsession with addictive forms of thinking resonates with the historical context. The novel critically examines how "our inborn feelings of humanity and justice" can lead to "the cruelties and satanic transgressions committed in its name."