In the summer of 1973, Ruth and her four friends were obsessed with pre-Raphaelite paintings. Drawn to the cold depths of the river by Ruth’s house, the girls pretend to be the drowning Ophelia, with increasingly elaborate tableaus. But by the end of that fateful summer, real tragedy finds them along the banks. Twenty-four years later, Ruth returns to the suffocating, once grand house she grew up in, the mother of young twins and 17-year-old Maeve. Joining the family in the country is Stuart, Ruth’s childhood friend, who is quietly insinuating himself into their lives and gives Maeve the attention she longs for. She is recently in remission, unsure of her place in the world now that she is cancer-free. Her parents just want her to be an ordinary teenage girl. But what teenage girl is ordinary?

Maeve Martin arrives at the High Water Center for the Arts, a gorgeous lodge nestled deep in the Rocky Mountains, determined to do one thing: begin her own dance company. A retired performer and mother of two, time is running out for her to find her feet again after the collapse of her disastrous --- and violent --- marriage. But when an avalanche strikes, Maeve finds herself trapped with six other guests. At first, there’s a sense of camaraderie. But as the days pass and the storm rages on outside, tensions start to run high. Then the first guest meets an unspeakable death. Followed by another. Soon Maeve must admit how little she knows about these strangers --- and how useless a locked door is if the darkness is already inside.

Aubrey, the title character of Gerry Andersen’s most successful novel, Dream Girl, is so captivating that Gerry’s readers insist she’s real. Gerry knows she exists only in his imagination. So how can Aubrey be calling Gerry, bed-bound since a freak fall? A virtual prisoner in his penthouse, Gerry is dependent on his incurious young assistant and a dull, slow-witted night nurse. Could the cryptic caller be one of his three ex-wives playing a vindictive trick after all these years? Or is she Margot, an ex-girlfriend who keeps trying to insinuate her way back into Gerry’s life? Aubrey is threatening to visit him, suggesting that Gerry owes her something. Is the threat real or a sign of dementia? Then he wakes up to a woman’s dead body next to his bed and the terrifying uncertainty of whether or not he is responsible.

Phoebe Hayes is in search of excitement and adventure. But the recent death of her father has so devastated her that her mother wants her to remain home in Baltimore to recover. Phoebe wants to return to New York, not only to chase the glamorous life she so desperately craves but also to confront Ivan, the older man who wronged her. With her best friend Carmen, she escapes to the East Village, disappearing into an underworld haunted by artists, It Girls and lost souls. Carmen juggles her junkie-poet boyfriend and a sexy painter, while, as Astrid the Star Girl, Phoebe tells fortunes in a nightclub and plots her revenge on Ivan. When the intoxicating brew of sex, drugs and self-destruction leads Phoebe to betray her friend, Carmen disappears, and Phoebe begins an unstoppable descent into darkness.

Set in the fictional African village of Kosawa, HOW BEAUTIFUL WE WERE tells of a people living in fear amid environmental degradation wrought by an American oil company. Pipeline spills have rendered farmlands infertile. Children are dying from drinking toxic water. Promises of cleanup and financial reparations to the villagers are made --- and ignored. The country’s government, led by a brazen dictator, exists to serve its own interests. Left with few choices, the people of Kosawa decide to fight back. Their struggle will last for decades and come at a steep price.

No surprise is a good surprise. At least according to 34-year-old Daisy Richardson. So when it’s revealed in dramatic fashion that her esteemed father had been involved in a public scandal before his untimely death, Daisy’s life becomes complicated --- and fast. For one, the Richardsons must now sell the family home in Georgetown they can no longer afford, and Daisy’s mother is holding on with an iron grip. Her younger sister, Wallis, is ready to move on to bigger and better things but falls fast and hard for the most inconvenient person possible. And then there’s Atlas, Daisy’s best friend. She’s always wished they could be more, but now he’s writing an exposé on the one subject she’s been desperate to avoid: her father.

1988. Beth Soames is 14 years old when her aunt takes her to stay at Raven Hall, a rambling manor. The Averells, the family who lives there, are warm and welcoming, and Beth becomes fast friends with their daughter, Nina. But when they ask her to help them with a harmless game, nothing is ever the same. 2019. Sadie Langton is an actress struggling to make ends meet when she lands a well-paying gig to pretend to be a guest at a weekend party. As day turns to night, Sadie starts to feel that there’s something off about the glamorous guests who arrive at Raven Hall. As the party begins, it becomes chillingly apparent that their unseen host is playing games with everyone...including her.

Abandoned by their family at a young age, Antoinette and Gabrielle “Coco” Chanel have grown up under the guidance of nuns preparing them for simple lives as the wives of tradesmen or shopkeepers. At night, their secret stash of romantic novels and magazine cutouts beneath the floorboards are all they have to keep their dreams of the future alive. The walls of the convent can’t shield them forever, and when they’re finally of age, the Chanel sisters set out together with a fierce determination to prove themselves worthy to a society that has never accepted them. But their lives are again thrown into turmoil when World War I breaks out, forcing them to make irrevocable choices.

April is kind, pretty and relatively normal --- yet she can’t seem to get past date five. Every time she thinks she’s found someone to trust, they reveal themselves to be awful, leaving her heartbroken. And angry. Until she realizes that men aren’t looking for real women --- they’re looking for Gretel. Gretel is perfect --- beautiful but low-maintenance, sweet but never clingy, sexy but not too easy. When April starts pretending to be Gretel, dating becomes much more fun --- especially once she reels in the unsuspecting Joshua. Finally, April is the one in control. But as she and Joshua grow closer, and the pressure of keeping her painful past a secret begins to build, how long will she be able to keep on pretending?

Growing up amid Kansas wheat fields and airplane factories, Sarah Smarsh witnessed firsthand the particular vulnerabilities --- and strengths --- of women in working poverty. Meanwhile, country songs by female artists played in the background, telling powerful stories about life, men, hard times and surviving. In her family, she writes that “country music was foremost a language among women. It’s how we talked to each other in a place where feelings aren’t discussed.” And no one provided that language better than Dolly Parton. In SHE COME BY IT NATURAL, Smarsh explores the overlooked contributions to social progress by such women as exemplified by Dolly Parton’s life and art.