From the New York Times bestselling author of Long Bright River, an immersive, propulsive novel about a missing child whose disappearance sends shockwaves through three very different worlds-

When Barbara Van Laar is discovered missing from her summer camp bunk one morning in August 1975, it triggers a panicked, terrified search. Losing a camper is a horrific tragedy under any circumstances, but Barbara isn't just any camper; she's the daughter of the wealthy family that owns the camp—as well as the opulent nearby estate and most of the land in sight. And this isn't the first time a Van Laar child has disappeared in this region: Barbara's older brother also went missing fourteen years ago, never to be found. How could this have happened yet again?

The God of the Woods is a story of love, inheritance, identity, and second chances, a thrillingly layered drama about the tensions between a family and a community, and a history of secrets that will not let any of them go.

From the New York Times bestselling author of Long Bright River, an immersive, propulsive novel about a missing child whose disappearance sends shockwaves through three very different worlds-

When Barbara Van Laar is discovered missing from her summer camp bunk one morning in August 1975, it triggers a panicked, terrified search. Losing a camper is a horrific tragedy under any circumstances, but Barbara isn't just any camper; she's the daughter of the wealthy family that owns the camp—as well as the opulent nearby estate and most of the land in sight. And this isn't the first time a Van Laar child has disappeared in this region: Barbara's older brother also went missing fourteen years ago, never to be found. How could this have happened yet again?

The God of the Woods is a story of love, inheritance, identity, and second chances, a thrillingly layered drama about the tensions between a family and a community, and a history of secrets that will not let any of them go.

White lies. Dark humor. Deadly consequences…

Authors June Hayward and Athena Liu were supposed to be twin rising stars. But Athena’s a literary darling. June Hayward is literally nobody. Who wants stories about basic white girls, June thinks. So when June witnesses Athena’s death in a freak accident, she acts on impulse: she steals Athena’s just-finished masterpiece, an experimental novel about the unsung contributions of Chinese laborers during World War I.

So what if June edits Athena’s novel and sends it to her agent as her own work? So what if she lets her new publisher rebrand her as Juniper Song—complete with an ambiguously ethnic author photo? Doesn’t this piece of history deserve to be told, whoever the teller? That’s what June claims, and the New York Times bestseller list seems to agree. But June can’t get away from Athena’s shadow, and emerging evidence threatens to bring June’s (stolen) success down around her. As June races to protect her secret, she discovers exactly how far she will go to keep what she thinks she deserves.

With its totally immersive first-person voice, Yellowface grapples with questions of diversity, racism, and cultural appropriation, as well as the terrifying alienation of social media.

White lies. Dark humor. Deadly consequences…

Authors June Hayward and Athena Liu were supposed to be twin rising stars. But Athena’s a literary darling. June Hayward is literally nobody. Who wants stories about basic white girls, June thinks. So when June witnesses Athena’s death in a freak accident, she acts on impulse: she steals Athena’s just-finished masterpiece, an experimental novel about the unsung contributions of Chinese laborers during World War I.

So what if June edits Athena’s novel and sends it to her agent as her own work? So what if she lets her new publisher rebrand her as Juniper Song—complete with an ambiguously ethnic author photo? Doesn’t this piece of history deserve to be told, whoever the teller? That’s what June claims, and the New York Times bestseller list seems to agree. But June can’t get away from Athena’s shadow, and emerging evidence threatens to bring June’s (stolen) success down around her. As June races to protect her secret, she discovers exactly how far she will go to keep what she thinks she deserves.

With its totally immersive first-person voice, Yellowface grapples with questions of diversity, racism, and cultural appropriation, as well as the terrifying alienation of social media.

White lies. Dark humor. Deadly consequences…

Authors June Hayward and Athena Liu were supposed to be twin rising stars. But Athena’s a literary darling. June Hayward is literally nobody. Who wants stories about basic white girls, June thinks. So when June witnesses Athena’s death in a freak accident, she acts on impulse: she steals Athena’s just-finished masterpiece, an experimental novel about the unsung contributions of Chinese laborers during World War I.

So what if June edits Athena’s novel and sends it to her agent as her own work? So what if she lets her new publisher rebrand her as Juniper Song—complete with an ambiguously ethnic author photo? Doesn’t this piece of history deserve to be told, whoever the teller? That’s what June claims, and the New York Times bestseller list seems to agree. But June can’t get away from Athena’s shadow, and emerging evidence threatens to bring June’s (stolen) success down around her. As June races to protect her secret, she discovers exactly how far she will go to keep what she thinks she deserves.

With its totally immersive first-person voice, Yellowface grapples with questions of diversity, racism, and cultural appropriation, as well as the terrifying alienation of social media.

Miryem is the daughter and granddaughter of moneylenders, but her father's inability to collect his debts has left his family on the edge of poverty. Determined to change their fortunes, Miryem hardens her heart and sets out to claim what is owed, quickly gaining a reputation for being able to turn silver into gold.

When her boast draws the attention of the king of the Staryk—grim fey creatures more ice than flesh—her fate, as well as the fate of two kingdoms, is irrevocably altered. Presented with an impossible challenge by the nameless king, she unwittingly ensnares a peasant girl, Wanda, and the unhappy daughter of a local lord.

The lord's daughter, Irina, is to be wed to the young tsar, Tsar Mirnatius, who harbors a dark secret that could engulf both human and Staryk worlds. As Miryem and her companions confront dangerous choices, they embark on a perilous journey that demands sacrifices, power, and love.

Channeling the essence of myth and fairy tale, Spinning Silver intricately weaves a story that is as multi-layered as it is enchanting, inviting readers to immerse themselves in a world that feels both familiar and wondrously new.

When Nicole Georges was two years old, her family told her that her father was dead. When she was twenty-three, a psychic told her he was alive. Her sister, saddled with guilt, admits that the psychic is right and that the whole family has conspired to keep him a secret. Sent into a tailspin about her identity, Nicole turns to radio talk-show host Dr. Laura Schlessinger for advice.

Packed cover-to-cover with heartfelt and disarming black-and-white illustrations, Calling Dr. Laura tells the story of what happens to you when you are raised in a family of secrets, and what happens to your brain—and heart—when you learn the truth from an unlikely source. Part coming-of-age and part coming-out story, Calling Dr. Laura marks the arrival of an exciting and winning new voice in graphic literature.

The House at Riverton is a breathtaking debut novel set in England between World War I and World War II. Perfect for fans of Downton Abbey, it unfolds the story of an aristocratic family, a mysterious death, and a bygone way of life, all seen through the eyes of a woman who experienced it firsthand.

As a young girl, Grace Bradley starts working at Riverton House, becoming deeply intertwined with the Hartford family, especially the daughters, Hannah and Emmeline. During a grand society party in the summer of 1924, a young poet commits suicide, an event only witnessed by Hannah, Emmeline, and Grace—who harbors the truth.

Years later, in 1999, as Grace nears the end of her life at ninety-eight, a young director seeks her out for a film about that fateful summer, reigniting her memories. The narrative, rich in flashbacks, captures the essence of Grace's youth amidst the final days of Edwardian aristocracy, the vibrant twenties, and the sweeping changes that followed, leading to the disappearance of an entire way of life.

This novel is laden with secrets—some revealed, others forever concealed, echoing the romantic suspense of Daphne du Maurier. It is also a contemplation on memory, the ravages of war, and a beautifully portrayed glimpse into a captivating period in history.

Since their mother's death, Tip and Teddy Doyle have been raised by their loving, possessive, and ambitious father. As the former mayor of Boston, Bernard Doyle wants to see his sons in politics, a dream the boys have never shared. But when an argument in a blinding New England snowstorm inadvertently causes an accident that involves a stranger and her child, all Bernard Doyle cares about is his ability to keep his children—all his children—safe.

Set over a period of twenty-four hours, Run takes us from the Museum of Comparative Zoology at Harvard to a home for retired Catholic priests in downtown Boston. It shows us how worlds of privilege and poverty can coexist only blocks apart from each other, and how family can include people you've never even met.

As in her bestselling novel Bel Canto, Ann Patchett illustrates the humanity that connects disparate lives, weaving several stories into one surprising and endlessly moving narrative. Suspenseful and stunningly executed, Run is ultimately a novel about secrets, duty, responsibility, and the lengths we will go to protect our children.

Pet Sematary is a gripping tale of horror where the boundary between life and death is blurred. When the Creeds move into a beautiful old house in rural Maine, everything seems perfect: a physician father, a beautiful wife, a charming little daughter, and an adorable infant son, all complemented by an idyllic home. The friendly cat adds to the family's happiness, but the nearby woods harbor a chilling secret.

Behind the children's pet cemetery lies another graveyard, one from which the dead return. The Creeds are about to discover that sometimes, dead is indeed better, as they are drawn into a sinister world where the line between the living and the dead is frighteningly thin.