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"Readers will be swept along with Maggie and Kate as they bamboozle an entire nation, and will feel for Maggie as she debates whether or not to leave the profession...Dianne K. Salerni has written a brilliant debut novel." —TeensReadToo.com Maggie: I began the deception when I was too young to know right from wrong. Only with the passing of time did I come to understand the consequences of my actions. Kate: I do not believe that I have ever intentionally deceived anyone. Maggie has a different understanding of the events that have happened. To her the spirits were always a game. For me they were my life's calling. I have no regrets. It starts as a harmless prank...then one lie quickly grows into another. Soon Kate and Maggie Fox are swept into a dizzying flurry of national attention for their abilities to communicate with the dead. But living a lie is sometimes too much to handle, even if you have the best intentions. Based on a true story, We Hear the Dead reveals how secrets and lies can sometimes lead you to what's real and what's right. And how sometimes talking with the dead is easier than talking with the people around you. What Readers Are Saying: "Masterfully written...a first-class novel." "A crafty, enchanting, mesmerizing read." "Adventure, romance, heartbreak, a bit of history, and a story that will touch you." "Dianne Salerni is masterful." "An enjoyable ride...and one well worth taking." "A great read that had me turning pages long after I should have gone to bed."
Jennie's connection with her twin brother, Toby, grew stronger after he died in 1864. Now Jennie must rely on her ability to communicate with his spirit to find out what has happened to her beloved fiancé, Will, while he was off at war. The army says he died honorably in battle. But his brother confides that Will became a violent criminal and died in a prison camp. Jennie begins to doubt that anyone is telling her the truth. With the help of a spiritualist photographer, the spirit of her dead fiancé, and the clues she discovers and keeps in her scrapbook, Jennie must put together the pieces of this mystery before she loses her home, her fortune, and possibly her life.
The Things We Learn When We’re Dead is about how small decisions can have profound and unintended consequences, but how we can sometimes get a second chance. On the way home from a dinner party, Lorna Love steps into the path of an oncoming car. When she wakes up she is in what appears to be a hospital – but a hospital in which her nurse looks like a young Sean Connery, she is served wine for supper, and everyone avoids her questions. It soon transpires that she is in Heaven, or on HVN, because HVN is a lost, dysfunctional spaceship, and God the aging hippy captain. She seems to be there by accident... or does God have a higher purpose after all? Despite that, The Things We Learn When We’re Dead is neither sci-fi nor fantasy. It is a book about memory and how, if we could remember things slightly differently, would we also be changed? In HVN, Lorna can at first remember nothing. But as her memories return – some good, some bad – she realises that she has decisions to make and that, maybe, she can find a way back home.
PULITZER PRIZE FINALIST • From one of our most heralded writers comes the “poetic, disturbing, yet very funny” (The Washington Post Book World) life-and-death adventures of three misfit teenagers in the American desert. Alice, Corvus, and Annabel, each a motherless child, are an unlikely circle of friends. One filled with convictions, another with loss, the third with a worldly pragmatism, they traverse an air-conditioned landscape eccentric with signs and portents—from the preservation of the living dead in a nursing home to the presentation of the dead as living in a wildlife museum—accompanied by restless, confounded adults. A father lusts after his handsome gardener even as he's haunted (literally) by his dead wife; a heartbroken dog runs afoul of an angry neighbor; a young stroke victim drifts westward, his luck running from worse to awful; a sickly musician for whom Alice develops an attraction is drawn instead toward darker imaginings and solutions; and an aging big-game hunter finds spiritual renewal through his infatuation with an eight-year-old—the formidable Emily Bliss Pickless. With nature thoroughly routed and the ambiguities of existence on full display, life and death continue in directions both invisible and apparent. Gloriously funny and wonderfully serious, The Quick and the Dead limns the vagaries of love, the thirst for meaning, and the peculiar paths by which all creatures are led to their destiny. A panorama of contemporary life and an endlessly surprising tour de force: penetrating and magical, ominous and comic, this is the most astonishing book yet in Joy Williams's illustrious career. Joy Williams belongs, James Salter has written, "in the company of Céline, Flannery O'Connor, and Margaret Atwood."
The celebrated New York Times Bestseller A Best Book of the Year pick at the New York Times, NPR, The New Yorker, TIME, Washington Post, Oprahmag.com, Thrillist, Shelf Awareness, Good Housekeeping and more. What does it take to come back to life? For Jessa-Lynn Morton, the question is not an abstract one. In the wake of her father’s suicide, Jessa has stepped up to manage his failing taxidermy business while the rest of the Morton family crumbles. Her mother starts sneaking into the taxidermy shop to make provocative animal art, while her brother, Milo, withdraws. And Brynn, Milo’s wife—and the only person Jessa’s ever been in love with—walks out without a word. It’s not until the Mortons reach a tipping point that a string of unexpected incidents begins to open up surprising possibilities and second chances. But will they be enough to salvage this family, to help them find their way back to one another? Kristen Arnett’s breakout bestseller is a darkly funny family portrait; a peculiar, bighearted look at love and loss and the ways we live through them together.
Winner of the 2021 National Jewish Book Award for Con­tem­po­rary Jew­ish Life and Prac­tice Finalist for the 2021 Kirkus Prize in Nonfiction A New York Times Notable Book of the Year A Wall Street Journal, Chicago Public Library, Publishers Weekly, and Kirkus Reviews Best Book of the Year A startling and profound exploration of how Jewish history is exploited to comfort the living. Renowned and beloved as a prizewinning novelist, Dara Horn has also been publishing penetrating essays since she was a teenager. Often asked by major publications to write on subjects related to Jewish culture—and increasingly in response to a recent wave of deadly antisemitic attacks—Horn was troubled to realize what all of these assignments had in common: she was being asked to write about dead Jews, never about living ones. In these essays, Horn reflects on subjects as far-flung as the international veneration of Anne Frank, the mythology that Jewish family names were changed at Ellis Island, the blockbuster traveling exhibition Auschwitz, the marketing of the Jewish history of Harbin, China, and the little-known life of the "righteous Gentile" Varian Fry. Throughout, she challenges us to confront the reasons why there might be so much fascination with Jewish deaths, and so little respect for Jewish lives unfolding in the present. Horn draws upon her travels, her research, and also her own family life—trying to explain Shakespeare’s Shylock to a curious ten-year-old, her anger when swastikas are drawn on desks in her children’s school, the profound perspective offered by traditional religious practice and study—to assert the vitality, complexity, and depth of Jewish life against an antisemitism that, far from being disarmed by the mantra of "Never forget," is on the rise. As Horn explores the (not so) shocking attacks on the American Jewish community in recent years, she reveals the subtler dehumanization built into the public piety that surrounds the Jewish past—making the radical argument that the benign reverence we give to past horrors is itself a profound affront to human dignity.
From Kevin Brockmeier, one of this generation's most inventive young writers, comes a striking new novel about death, life, and the mysterious place in between. The City is inhabited by those who have departed Earth but are still remembered by the living. They will reside in this afterlife until they are completely forgotten. But the City is shrinking, and the residents clearing out. Some of the holdouts, like Luka Sims, who produces the City’s only newspaper, are wondering what exactly is going on. Others, like Coleman Kinzler, believe it is the beginning of the end. Meanwhile, Laura Byrd is trapped in an Antarctic research station, her supplies are running low, her radio finds only static, and the power is failing. With little choice, Laura sets out across the ice to look for help, but time is running out. Kevin Brockmeier alternates these two storylines to create a lyrical and haunting story about love, loss and the power of memory.
For readers of Roberto Bolaño's Savage Detectives and Muriel Spark's Loitering with Intent, this "sublime" and "delightfully unhinged" metaphysical mystery disguised as a picaresque romp follows one poet's spectacular fall from grace to ask a vital question: Is everyone a plagiarist? (Nicolette Polek, author of Imaginary Museums). A scandal has shaken the literary world. As the unnamed narrator of Dead Souls discovers at a cultural festival in central London, the offender is Solomon Wiese, a poet accused of plagiarism. Later that same evening, at a bar near Waterloo Bridge, our narrator encounters the poet in person, and listens to the story of Wiese's rise and fall, a story that takes the entire night—and the remainder of the novel—to tell. Wiese reveals his unconventional views on poetry, childhood encounters with "nothingness," a conspiracy involving the manipulation of documents in the public domain, an identity crisis, a retreat to the country, a meeting with an ex-serviceman with an unexpected offer, the death of an old poet, a love affair with a woman carrying a signpost, an entanglement with a secretive poetry cult, and plans for a triumphant return to the capital, through the theft of poems, illegal war profits, and faked social media accounts—plans in which our narrator discovers he is obscurely implicated. Dead Souls is a metaphysical mystery brilliantly encased in a picaresque romp, a novel that asks a vital question for anyone who makes or engages with art: Is everyone a plagiarist?
Homeless, hunted, and desperate to escape a bitter storm, Keira takes refuge in an abandoned groundskeeper's cottage. Her new home is tucked away at the edge of a cemetery, surrounded on all sides by gravestones: some recent, some hundreds of years old, all suffering from neglect. And in the darkness, she can hear the unquiet dead whispering. The cemetery is alive with faint, spectral shapes, led by a woman who died before her time…and Keira, the only person who can see her, has become her new target. Determined to help put the ghost to rest, Keira digs into the spirit's past life with the help of unlikely new friends, and discovers a history of deception, ill-fated love, and murder. But the past is not as simple as it seems, and Keira's time is running out. Tangled in a dangerous web, she has to find a way to free the spirit...even if it means offering her own life in return.
Dead People is a book of eulogies, written for an eclectic assortment of famous and interesting people who died in recent years. The essays were written by Stefany Anne Golberg and 2013 Whiting Award winner Morgan Meis. The book covers twenty-eight dead people in all, including intellectuals like Susan Sontag, Christopher Hitchens and Eric Hobsbawn; musicians like Sun Ra, MCA (Beastie Boys) and Kurt Cobain; writers like David Foster Wallace, John Updike and Tom Clancy; artists like Thomas Kinkade and Robert Rauschenberg; and controversial political figures like Osama bin Laden and Mikhail Kalashnikov.