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*A New York Times Notable Book of 2022* *A Washington Post Notable Work of Fiction* *An NPR Best Book of the Year* *A New Yorker Best Book of 2022* From the New York Times bestselling author of The Plot, Jean Hanff Korelitz’s The Latecomer is a layered and immersive literary novel about three siblings, desperate to escape one another, and the upending of their family by the late arrival of a fourth. The Latecomer follows the story of the wealthy, New York City-based Oppenheimer family, from the first meeting of parents Salo and Johanna, under tragic circumstances, to their triplets born during the early days of IVF. As children, the three siblings – Harrison, Lewyn, and Sally – feel no strong familial bond and cannot wait to go their separate ways, even as their father becomes more distanced and their mother more desperate. When the triplets leave for college, Johanna, faced with being truly alone, makes the decision to have a fourth child. What role will the “latecomer” play in this fractured family? A complex novel that builds slowly and deliberately, The Latecomer touches on the topics of grief and guilt, generational trauma, privilege and race, traditions and religion, and family dynamics. It is a profound and witty family story from an accomplished author, known for the depth of her character studies, expertly woven storylines, and plot twists.
The Latecomer by Sarah Aldridge was the first book published by the legendary Naiad Press and one of the first known novels to grant a happy ending to its lesbian main characters. Coming home from a summer spent in research in Europe, Philippa unexpectedly shares her stateroom with Kay, a stranger. Philippa, nearing forty, reserved, inexperienced in close human relationships, and Kay, eight years younger, lively, gregarious, agonizing over a frustrated love affair, spend five days during their stormy Atlantic crossing learning the key to each other’s natures. Philippa and Kay believe their arrival in New York harbor will end their brief friendship, but circumstance intervenes. They meet again in Washington, D.C., where Kay's lover's career has led to possible catastrophe for all involved. It is Philippa who must act as a mediator for Kay—hiding her growing feelings to protect Kay's best interests. The Latecomer invites you into the world of Philippa and Kay, strangers who meet aboard a cruise ship and, despite very different lives and aspirations, find a surprising bond. Through political and romantic intrigue, they uncover the truth about themselves.
From the bestselling author of What Was Mine-a deeply moving family drama about a young Irish immigrant, an ancestral home in New England and a dark secret that lay hidden in its walls for five generations. In 1908, sixteen-year-old Bridey runs away from her small town in Ireland with her same-age sweetheart Thom. But when Thom dies suddenly of ship fever on their ocean crossing, Bridey finds herself alone and pregnant in a strange new world. Forced by circumstance to give up the baby for adoption, Bridey finds work as a maid for the Hollingworth family at a lavish, sprawling estate. It's the dawn of a new century: innovative technologies are emerging, women's roles are changing, and Bridey is emboldened by the promise of a fresh start. She cares for the Hollingworth children as if they were her own, until a mysterious death changes Bridey and the household forever. For decades, the terrible secrets of Bridey's past continue to haunt the family. And in the present day, the youngest Hollingworth makes a connection that finally brings these dark ghost stories into the light. Told in interweaving timelines and rich with detailed history, romance and dark secrets, Helen Klein Ross' The Latecomers spans a century of America life and reminds us all that we can never truly leave the past behind.
** NEW YORK TIMES BESTSELLER! ** The Tonight Show Summer Reads Winner ** A New York Times Notable Book of 2021 ** "Insanely readable." —Stephen King Hailed as "breathtakingly suspenseful," Jean Hanff Korelitz’s The Plot is a propulsive read about a story too good not to steal, and the writer who steals it. Jacob Finch Bonner was once a promising young novelist with a respectably published first book. Today, he’s teaching in a third-rate MFA program and struggling to maintain what’s left of his self-respect; he hasn’t written—let alone published—anything decent in years. When Evan Parker, his most arrogant student, announces he doesn’t need Jake’s help because the plot of his book in progress is a sure thing, Jake is prepared to dismiss the boast as typical amateur narcissism. But then . . . he hears the plot. Jake returns to the downward trajectory of his own career and braces himself for the supernova publication of Evan Parker’s first novel: but it never comes. When he discovers that his former student has died, presumably without ever completing his book, Jake does what any self-respecting writer would do with a story like that—a story that absolutely needs to be told. In a few short years, all of Evan Parker’s predictions have come true, but Jake is the author enjoying the wave. He is wealthy, famous, praised and read all over the world. But at the height of his glorious new life, an e-mail arrives, the first salvo in a terrifying, anonymous campaign: You are a thief, it says. As Jake struggles to understand his antagonist and hide the truth from his readers and his publishers, he begins to learn more about his late student, and what he discovers both amazes and terrifies him. Who was Evan Parker, and how did he get the idea for his “sure thing” of a novel? What is the real story behind the plot, and who stole it from whom?
In search of a place to call home, thousands of Hmong families made the journey from the war-torn jungles of Laos to the overcrowded refugee camps of Thailand and onward to America. But lacking a written language of their own, the Hmong experience has been primarily recorded by others. Driven to tell her family’s story after her grandmother’s death, The Latehomecomer is Kao Kalia Yang’s tribute to the remarkable woman whose spirit held them all together. It is also an eloquent, firsthand account of a people who have worked hard to make their voices heard. Beginning in the 1970s, as the Hmong were being massacred for their collaboration with the United States during the Vietnam War, Yang recounts the harrowing story of her family’s captivity, the daring rescue undertaken by her father and uncles, and their narrow escape into Thailand where Yang was born in the Ban Vinai Refugee Camp. When she was six years old, Yang’s family immigrated to America, and she evocatively captures the challenges of adapting to a new place and a new language. Through her words, the dreams, wisdom, and traditions passed down from her grandmother and shared by an entire community have finally found a voice. Together with her sister, Kao Kalia Yang is the founder of a company dedicated to helping immigrants with writing, translating, and business services. A graduate of Carleton College and Columbia University, Yang has recently screened The Place Where We Were Born, a film documenting the experiences of Hmong American refugees. Visit her website at www.kaokaliayang.com.
From the New York Times bestselling author of You Should Have Known (adapted as The Undoing on HBO), comes a page-turner about a college admissions officer with a secret—now a major motion picture starring Tina Fey and Paul Rudd. For years, 38-year-old Portia Nathan has avoided the past, hiding behind her busy (and sometimes punishing) career as a Princeton University admissions officer and her dependable domestic life. Her reluctance to confront the truth is suddenly overwhelmed by the resurfacing of a life-altering decision, and Portia is faced with an extraordinary test. Just as thousands of the nation's brightest students await her decision regarding their academic admission, so too must Portia decide whether to make her own ultimate admission. Admission is a fascinating behind-the-scenes look at the complex college admissions process and an emotional examination of what happens when the secrets of the past shake a woman's life to its core.
100 Essays I Don't Have Time to Write is an incisive, idiosyncratic collection on life and theater from major American playwright Sarah Ruhl. This is a book in which chimpanzees, Chekhov, and child care are equally at home. A vibrant, provocative examination of the possibilities of the theater, it is also a map to a very particular artistic sensibility, and an unexpected guide for anyone who has chosen an artist's life. Sarah Ruhl is a mother of three and one of America's best-known playwrights. She has written a stunningly original book of essays whose concerns range from the most minimal and personal subjects to the most encompassing matters of art and culture. The titles themselves speak to the volume's uniqueness: "On lice," "On sleeping in the theater," "On motherhood and stools (the furniture kind)," "Greek masks and Bell's palsy."
The most important issue for development centres on the debate about the centrality of knowledge, technology and innovation to the process of economic development. While this much is broadly agreed, what is at issue is the precise mechanics of overcoming economic development challenges in different contexts. At the heart of it all is about how economies at different levels deploy the unending streams of information and knowledge to developmental ends. In time, the notion of income convergence between the poorer South and the wealthy North has proved a mirage, while a new economic divide has in fact occurred within the South itself, and as well, between regions and within regions. The debate relating to latecomers is thus framed in discussions about regions and countries that arrive late to mastering industrialization in achieving economic prosperity through the use of knowledge. In other words, a new divide has emerged among the latecomers themselves, and with it, greater conceptual complexity in the ways of our understanding of the divergent ways of economic development. We have thus separated "fast followers" and new "late comers". This book enters this debate acutely aware of the complexity of this process. The authors argue that economic development is largely driven by innovation, concentrating on the dynamics of process, product and organizational changes and how they are embedded within specific and varied contextual institutions.
In The Latecomer's Rise, Muyang Chen reveals the nature and impact of a rapidly growing form of international lending: Chinese development finance. Over the past few decades, China has become the world's largest provider of bilateral development finance. Through its two national policy banks, the China Development Bank (CDB) and the Export-Import Bank of China (China Exim), it has funded infrastructure and industrial projects in numerous emerging markets and developing countries. Yet this very surge and magnitude of capital has raised questions about the characteristics of Chinese bilateral lending and its repercussions on the international order. Drawing on a variety of novel Chinese primary sources, including interviews and official bank documents, Chen pinpoints the distinctiveness of Chinese bilateral development finance, explains its origins, and analyzes its effects. She compares Chinese policy banks with their foreign counterparts to show that the CDB and China Exim, while state-supported, are in fact also market-oriented—they are as much government organs as they are profit-driven financial agencies that serve both state and firms' interests. This approach, which emerged out of China's particular economic history, suggests that Chinese overseas lending is not merely a tool of economic statecraft that challenges Western-led economic regimes. Instead, China's responses to extant rules, norms, and practices across given issue areas have varied between contestation and convergence. Rich with empirical detail and penetrating insights, The Latecomer's Rise demystifies the little-known workings of Chinese development finance to revise our conceptions of China's role in the international financial system.
A major contribution to the field of comparative state formation and the scholarship on long-term political development of Latin America "Ambitious and rich. . . . A sweeping and general theory of state formation and detailed historical reconstruction of essential events in Latin American political development. It combines structural elements with a novel emphasis on the political incentives and bargaining that shaped the map we have today."--Hillel David Soifer, Governance Latin American governments systematically fail to provide the key public goods for their societies to prosper. Sebastián Mazzuca argues that the secret of Latin America's failure is that its states were "born weak," in contrast to states in western Europe, North America, and Japan. State formation in post-Independence Latin America occurred in a period when capitalism, rather than war, was the key driver forging countries. In pursuing the short-term benefits of international trade, Latin American leaders created states with chronic weaknesses, notably patrimonial administrations and dysfunctional regional combinations. Mazzuca analyzes pathways leading to variations in country size and level of pacification: "port-led" state formation in Argentina and Brazil; "party-led" in Mexico, Colombia, and Uruguay; and "lord-led" in Central America, Venezuela, and Peru.