Alina and Laura are independent and career-driven women in their mid-thirties, neither of whom have built their future around the prospect of a family. Laura has taken the drastic decision to be sterilised, but as time goes by, Alina becomes drawn to the idea of becoming a mother.

When complications arise in Alina’s pregnancy and Laura becomes attached to her neighbour’s son, both women are forced to reckon with the complexity of their emotions. In prose that is as gripping as it is insightful, Guadalupe Nettel explores maternal ambivalence with a surgeon's touch, carefully dissecting the contradictions that make up the lived experiences of women.

Do You Have Kids? Life When the Answer is No explores the lives of those who are childfree or childless, whether by choice or circumstance. This book delves into how these individuals find meaning, connection, and joy in a society that often emphasizes parenthood.

Kate Kaufmann weaves together wisdom from women aged twenty-four to ninety-one, sharing candid insights about their lives. This book is an exhaustively researched guide that challenges societal norms and expectations, offering alternate routes to fulfilling lives.

Today, about one in five adults over the age of 40 will never have children. Despite this growing demographic, conversations around childlessness or being childfree are often stifled by social taboos. This book provides a platform for these much-needed discussions, illuminating a perfectly normal way of being.

Join the conversation and explore the unexpected aspects of life when the answer is no.

"Just listen," Adam says with a voice that sounds like shrapnel. I open my eyes wide now. I sit up as much as I can. And I listen. "Stay," he says.

Choices. Seventeen-year-old Mia is faced with some tough ones: Stay true to her first love—music—even if it means losing her boyfriend and leaving her family and friends behind?

Then one February morning Mia goes for a drive with her family, and in an instant, everything changes. Suddenly, all the choices are gone, except one. And it's the only one that matters.

If I Stay is a heartachingly beautiful book about the power of love, the true meaning of family, and the choices we all make.

Love the One You're With is a captivating novel by Emily Giffin, the bestselling author of Something Borrowed, Something Blue, and Baby Proof. This book explores the choices that define us and poses the question: How can you truly love the one you're with when you can't forget the one who got away?

Ellen and Andy's first year of marriage doesn't just seem perfect; it is perfect. Their devotion is unquestionable, and they naturally bring out the best in each other. But one fateful afternoon, Ellen runs into Leo for the first time in eight years. Leo, who brought out the worst in her. Leo, who left her heartbroken without explanation. Leo, whom she could never quite forget.

When his reappearance ignites long-dormant emotions, Ellen begins to question whether the life she's living is the one she's truly meant to live. At once heartbreaking and funny, Love the One You're With is a tale of lost loves and found fortunes that will resonate with anyone who has ever wondered "what if".

London, 1936. Gordon Comstock has declared war on the money god; and Gordon is losing the war. Nearly 30 and "rather moth-eaten already," a poet whose one small book of verse has fallen "flatter than any pancake," Gordon has given up a "good" job and gone to work in a bookshop at half his former salary. Always broke, but too proud to accept charity, he rarely sees his few friends and cannot get the virginal Rosemary to bed because (or so he believes), "If you have no money ... women won't love you."

On the windowsill of Gordon's shabby rooming-house room is a sickly but unkillable aspidistra—a plant he abhors as the banner of the sort of "mingy, lower-middle-class decency" he is fleeing in his downward flight.

In Keep the Aspidistra Flying, George Orwell has created a darkly compassionate satire to which anyone who has ever been oppressed by the lack of brass, or by the need to make it, will all too easily relate. He etches the ugly insanity of what Gordon calls "the money-world" in unflinching detail, but the satire has a second edge, too, and Gordon himself is scarcely heroic. In the course of his misadventures, we become grindingly aware that his radical solution to the problem of the money-world is no solution at all—that in his desperate reaction against a monstrous system, he has become something of a monster himself. Orwell keeps both of his edges sharp to the very end—a "happy" ending that poses tough questions about just how happy it really is.

That the book itself is not sour, but constantly fresh and frequently funny, is the result of Orwell's steady, unsentimental attention to the telling detail; his dry, quiet humor; his fascination with both the follies and the excellences of his characters; and his courageous refusal to embrace the comforts of any easy answer.