Central Pennsylvania, May 31, 1889: After a deluge of rain swelled the Little Conemaugh River, panicked engineers watched helplessly as swiftly rising waters threatened to breach the South Fork dam. At 3:10pm the dam gave way, releasing 20 million tons of water. The deluge wiped out nearly everything in its path before reaching Johnstown, a vibrant steel town 14 miles downstream. Traveling 40 miles an hour, the deadly floodwaters razed the mill town in minutes. The Great Flood remains the deadliest in US history, killing more than 2,200 people and causing $17 million in damage. In RUTHLESS TIDE, Al Roker follows an unforgettable cast of characters whose fates converged because of that tragic day.

Like many first-time mothers, Rebecca Stone finds herself both deeply in love with her newborn son and deeply overwhelmed. Struggling to juggle the demands of motherhood with her own aspirations, she reaches out to the only person at the hospital who offers her any real help --- Priscilla Johnson --- and begs her to come home with them as her son’s nanny. Rebecca is white, and Priscilla is black, and through their relationship, Rebecca finds herself confronting, for the first time, the blind spots of her own privilege. When Priscilla dies unexpectedly in childbirth, Rebecca steps forward to adopt the baby. But she is unprepared for what it means to be a white mother with a black son.

In her late 30s, when her friends are asking when they will become mothers, the narrator of MOTHERHOOD considers if she will do so at all. In a narrative spanning several years, casting among the influence of her peers, partner and her duties to her forbearers, she struggles to make a wise and moral choice. After seeking guidance from philosophy, her body, mysticism and chance, she discovers her answer much closer to home.

On the eve of his execution, 18-year-old Willie Jones sits in his cell in New Iberia awaiting his end. Across the state, a truck driven by a convict and his keeper carries the executioner’s chair closer. On a nearby highway, Willie’s father Frank lugs a gravestone on the back of his fading, old mule. In his office, the DA who prosecuted Willie reckons with his sentencing, while at their gas station at the crossroads outside of town, married couple Ora and Dale grapple with their grief and their secrets.

Lucy has been writing her dissertation on Sappho for nine years when she and her boyfriend break up in a dramatic flameout. After she bottoms out in Phoenix, her sister in Los Angeles insists Lucy dog-sit for the summer. But Lucy can find little relief from her anxiety --- not in the Greek chorus of women in her love addiction therapy group, not in her frequent Tinder excursions, not even in Dominic the foxhound's easy affection. Everything changes when Lucy becomes entranced by an eerily attractive swimmer while sitting alone on the beach rocks one night. But when Lucy learns the truth about his identity, their relationship, and Lucy’s understanding of what love should look like, take a very unexpected turn.

It’s 2003 and Romy Hall, named after a German actress, is at the start of two consecutive life sentences at Stanville Women’s Correctional Facility, deep in California’s Central Valley. Outside is the world from which she has been severed: her young son, Jackson, and the San Francisco of her youth. Inside is a new reality: thousands of women hustling for the bare essentials needed to survive; the bluffing and pageantry and casual acts of violence by guards and prisoners alike; and the deadpan absurdities of institutional living.

How many lives fit in a lifetime? When Hero De Vera arrives in America --- haunted by the political upheaval in the Philippines and disowned by her parents --- she's already on her third. Her uncle gives her a fresh start in the Bay Area, and he doesn't ask about her past. His younger wife knows enough about the might and secrecy of the De Vera family to keep her head down. But their daughter --- the first American-born daughter in the family --- can't resist asking Hero about her damaged hands.

Laurel Mack is trying to put her life back together. It’s been 10 years since her daughter, Ellie, disappeared, seven years since her marriage ended, and only months since the last clue in Ellie’s case was unearthed. So when she meets an unexpectedly charming man in a café, no one is more surprised than Laurel at how quickly their flirtation develops into something deeper. Before she knows it, she’s meeting Floyd’s daughters --- and his youngest, Poppy, takes Laurel’s breath away. Because looking at Poppy is like looking at Ellie. And now, the unanswered questions about Ellie's disappearance that she has tried so hard to put to rest begin to haunt Laurel anew.

From the roots to the crown and back to the seeds, THE OVERSTORY unfolds in concentric rings of interlocking fables that range from antebellum New York to the late-20th-century Timber Wars of the Pacific Northwest and beyond. There is a world alongside ours --- vast, slow, interconnected, resourceful, magnificently inventive and almost invisible to us. This is the story of a handful of people who learn how to see that world and who are drawn up into its unfolding catastrophe.

Recently suspended for a so-called outburst, high school English teacher Anna Crawford is stewing over the injustice at home when she is shocked to see herself named on television as a suspect in a shooting at the school where she works. Though she is quickly exonerated, and the actual teenage murderer identified, her life is nevertheless held up for relentless scrutiny and judgment as this quiet town descends into media mania. Gun sales skyrocket, victims are transformed into martyrs, and the rules of public mourning are ruthlessly enforced. Anna decides to wholeheartedly reject the culpability she’s somehow been assigned, and the rampant sexism that comes with it, both in person and online.