Olive, Again continues the life of the beloved character Olive Kitteridge, a creation of Pulitzer Prize winner Elizabeth Strout. Olive's journey is a profound exploration of human nature, filled with both empathy and brutal honesty.

In the town of Crosby, Maine, Olive interacts with a variety of characters: a teenager grappling with the loss of a parent, a young woman on the brink of motherhood, a nurse revealing a long-held secret, and a lawyer dealing with an unwanted inheritance. Through these stories, Olive's unique perspective offers insights into the complexities of life and relationships.

With her prickly demeanor and candid nature, Olive is a compelling force who challenges and inspires those around her. Elizabeth Strout masterfully animates the ordinary with an astonishing force, making Olive, Again a poignant reminder of the power of empathy in our lives.

The Dutch House is a richly moving story by Ann Patchett, exploring the indelible bond between two siblings, the house of their childhood, and a past that will not let them go.

At the end of the Second World War, Cyril Conroy combines luck and a single canny investment to begin an enormous real estate empire, propelling his family from poverty to enormous wealth. His first order of business is to buy the Dutch House, a lavish estate in the suburbs outside of Philadelphia. Meant as a surprise for his wife, the house sets in motion the undoing of everyone he loves.

The story is told by Cyril’s son Danny, as he and his older sister, the brilliantly acerbic and self-assured Maeve, are exiled from the house where they grew up by their stepmother. The two wealthy siblings are thrown back into the poverty their parents had escaped from and find that all they have to count on is one another. It is this unshakeable bond between them that both saves their lives and thwarts their futures.

Set over the course of five decades, The Dutch House is a dark fairy tale about two smart people who cannot overcome their past. Despite every outward sign of success, Danny and Maeve are only truly comfortable when they're together. Throughout their lives, they return to the well-worn story of what they've lost with humor and rage. But when at last they're forced to confront the people who left them behind, the relationship between an indulged brother and his ever-protective sister is finally tested.

The Dutch House is the story of a paradise lost, a tour de force that digs deeply into questions of inheritance, love, and forgiveness, of how we want to see ourselves and of who we really are. Filled with suspense, you may read it quickly to find out what happens, but what happens to Danny and Maeve will stay with you for a very long time.

On Earth We're Briefly Gorgeous is a poignant letter from a son to his mother, who cannot read. Written by Little Dog when he is in his late twenties, this letter delves into a family history that began long before his birth—a history deeply rooted in Vietnam. It serves as a gateway into parts of his life that his mother has never known, leading to an unforgettable revelation.

This novel is a profound witness to the complex yet undeniable love between a single mother and her son. It is also a brutally honest exploration of race, class, and masculinity. The narrative poses questions central to our American moment, as we grapple with addiction, violence, and trauma, but it is underpinned by compassion and tenderness.

Ocean Vuong writes with stunning urgency and grace about people caught between disparate worlds, asking how we can heal and rescue one another without losing ourselves. The quest for survival and the pursuit of joy power this remarkable debut novel.

From National Book Award and National Book Critics Circle Award finalist Ada Limón comes The Carrying—her most powerful collection yet.

Vulnerable, tender, acute, these are serious poems, brave poems, exploring with honesty the ambiguous moment between the rapture of youth and the grace of acceptance. A daughter tends to aging parents. A woman struggles with infertility—“What if, instead of carrying / a child, I am supposed to carry grief?”—and a body seized by pain and vertigo as well as ecstasy. A nation convulses: “Every song of this country / has an unsung third stanza, something brutal.” And still Limón shows us, as ever, the persistence of hunger, love, and joy, the dizzying fullness of our too-short lives. “Fine then, / I’ll take it,” she writes. “I’ll take it all.”

In Bright Dead Things, Limón showed us a heart “giant with power, heavy with blood”—“the huge beating genius machine / that thinks, no, it knows, / it’s going to come in first.” In her follow-up collection, that heart is on full display—even as The Carrying continues further and deeper into the bloodstream, following the hard-won truth of what it means to live in an imperfect world.