Dublin, 1969: Maura has just married Dr. Christy Davenport, and they look forward to growing their family. But as her husband’s vicious temper emerges, Maura worries that her home might never be safe for a child. Meanwhile, her close friend Bernie, a mother of three, learns the devastating news that if she conceives again, her health complications could prove fatal. Dublin, 2023: A close call makes Saoirse realize that she may never want to be a mother. Little does she know that only a few decades ago, a group of women made this option possible for her. And she’s about to meet one of them.

Dublin, 1969: Maura has just married Dr. Christy Davenport, and they look forward to growing their family. But as her husband’s vicious temper emerges, Maura worries that her home might never be safe for a child. Meanwhile, her close friend Bernie, a mother of three, learns the devastating news that if she conceives again, her health complications could prove fatal. Dublin, 2023: A close call makes Saoirse realize that she may never want to be a mother. Little does she know that only a few decades ago, a group of women made this option possible for her. And she’s about to meet one of them.

In 1970s Dublin, all forms of contraception are strictly forbidden, but an intrepid group of women will risk everything to change that in this sweeping, timely novel inspired by a remarkable and little-known true story.

Dublin, 1969: Maura has just married Dr. Christy Davenport, and they look forward to growing their family. But as her husband’s vicious temper emerges, Maura worries that her home might never be safe for a child. Meanwhile, her close friend Bernie, a mother of three, learns the devastating news that if she conceives again, her health complications could prove fatal.

Dublin, 2023: A close call makes Saoirse realize that she may never want to be a mother. Little does she know that only a few decades ago, a group of women made this option possible for her. And she’s about to meet one of them.

THE WOMEN ON PLATFORM TWO is a haunting, powerful story of feminine resistance and resilience that reminds us all of where we started --- and how far we still have to go.

Audiobook available; read by Jessica Regan, Shakira Shute and Maeve Smyth

I had it all: a fantastic husband, two great kids, an exciting career. And then, at the age of 43, I found out I would be dead before my next birthday. My mother also died at 43. I was 17, and she warned me that women would flock to my suddenly single father like stray cats to an overturned milk truck. They did. And one absolutely evil woman practically destroyed his life, mine and my sister’s. I am not letting that happen to my family. I have three months, and I plan to spend every waking minute searching for the perfect woman to take my place as Alex’s wife, and mother to Kevin and Katie. You’re probably thinking that I’ll never do it. Did I mention that in high school I was voted “Most Likely to Kill Someone to Get What She Wants”?

I had it all: a fantastic husband, two great kids, an exciting career. And then, at the age of 43, I found out I would be dead before my next birthday. My mother also died at 43. I was 17, and she warned me that women would flock to my suddenly single father like stray cats to an overturned milk truck. They did. And one absolutely evil woman practically destroyed his life, mine and my sister’s. I am not letting that happen to my family. I have three months, and I plan to spend every waking minute searching for the perfect woman to take my place as Alex’s wife, and mother to Kevin and Katie. You’re probably thinking that I’ll never do it. Did I mention that in high school I was voted “Most Likely to Kill Someone to Get What She Wants”?

I have one thing to do before I die.
And time is running out.

I had it all: a fantastic husband, two great kids, an exciting career. And then, at the age of 43, I found out I would be dead before my next birthday.

My mother also died at 43. I was 17, and she warned me that women would flock to my suddenly single father like stray cats to an overturned milk truck. They did. And one absolutely evil woman practically destroyed his life, mine and my sister’s.

I am not letting that happen to my family.

I have three months, and I plan to spend every waking minute searching for the perfect woman to take my place as Alex’s wife, and mother to Kevin and Katie.

You’re probably thinking that I’ll never do it. Did I mention that in high school I was voted “Most Likely to Kill Someone to Get What She Wants”?

From thriller writer Marshall Karp (cocreator with James Patterson of the #1 New York Times bestselling NYPD Red series), and rich with Karp’s deft array of three-dimensional characters and his signature biting humor, DON'T TELL ME HOW TO DIE has so many twists and turns, you’d swear he wrote it with a corkscrew.

Audiobook available, read by January LaVoy

Joan Didion opened THE WHITE ALBUM (1979) with what would become one of the most iconic lines in American literature: “We tell ourselves stories in order to live.” Today, this phrase is deployed inspirationally, printed on T-shirts and posters, used as a battle cry for artists and writers. In truth, Didion was describing something much less rosy: our human tendency to manufacture delusions that might ward away our anxieties when society seems to spin off its axis. Nowhere was this collective hallucination more effectively crafted than in Hollywood. In this riveting cultural biography, New York Times film critic Alissa Wilkinson examines Joan Didion’s influence through the lens of American mythmaking.

Joan Didion opened THE WHITE ALBUM (1979) with what would become one of the most iconic lines in American literature: “We tell ourselves stories in order to live.” Today, this phrase is deployed inspirationally, printed on T-shirts and posters, used as a battle cry for artists and writers. In truth, Didion was describing something much less rosy: our human tendency to manufacture delusions that might ward away our anxieties when society seems to spin off its axis. Nowhere was this collective hallucination more effectively crafted than in Hollywood. In this riveting cultural biography, New York Times film critic Alissa Wilkinson examines Joan Didion’s influence through the lens of American mythmaking.

Joan Didion opened THE WHITE ALBUM (1979) with what would become one of the most iconic lines in American literature: “We tell ourselves stories in order to live.” Today, this phrase is deployed inspirationally, printed on T-shirts and posters, used as a battle cry for artists and writers. In truth, Didion was describing something much less rosy: our human tendency to manufacture delusions that might ward away our anxieties when society seems to spin off its axis. Nowhere was this collective hallucination more effectively crafted than in Hollywood.

In this riveting cultural biography, New York Times film critic Alissa Wilkinson examines Joan Didion’s influence through the lens of American mythmaking. As a young girl, Didion was infatuated with John Wayne and his on-screen bravado, and was fascinated by her California pioneer ancestry and the infamous Donner Party. The mythos that preoccupied her early years continued to influence her work as a magazine writer and film critic in New York, offering glimmers of the many stories Didion told herself that would come to unravel over the course of her career. But out west, show business beckoned.

WE TELL OURSELVES STORIES eloquently traces Didion’s journey from New York to her arrival in Hollywood as a screenwriter at the twilight of the old studio system. She spent much of her adult life deeply embroiled in the glitz and glamor of the Los Angeles elite, where she acutely observed --- and denounced --- how the nation’s fears and dreams were sensationalized on screen. Meanwhile, she paid the bills writing movie scripts like A Star Is Born, while her books propelled her to celestial heights of fame.

Peering through a scrim of celluloid, Wilkinson incisively dissects the cinematic motifs and machinations that informed Didion’s writing --- and how her writing, ultimately, demonstrated Hollywood’s addictive grasp on the American imagination. More than a portrait of a writer, WE TELL OURSELVES STORIES shines a new light on a legacy whose impact will be felt for generations.

Something wicked is going on in the village of Ascension. A mother wasting away from cancer is suddenly up and about. A boy trampled by a milk cart walks away from the accident. A hanged man can still speak, broken neck and all. The dead are not dying. When Rabbit and Sadie Grace accompany their friend, Rose, to Ascension to help take care of her ailing cousin, they immediately notice that their new house, Bethany Hall, is occupied by dozens of ghosts. And something is waiting for them in the attic. The villagers of Ascension are unwelcoming and wary of their weird visitors. As the three women attempt to find out what’s happening in the town, they must be careful not to be found out. But a much larger --- and more dangerous --- force is galloping straight for them.

Something wicked is going on in the village of Ascension. A mother wasting away from cancer is suddenly up and about. A boy trampled by a milk cart walks away from the accident. A hanged man can still speak, broken neck and all. The dead are not dying. When Rabbit and Sadie Grace accompany their friend, Rose, to Ascension to help take care of her ailing cousin, they immediately notice that their new house, Bethany Hall, is occupied by dozens of ghosts. And something is waiting for them in the attic. The villagers of Ascension are unwelcoming and wary of their weird visitors. As the three women attempt to find out what’s happening in the town, they must be careful not to be found out. But a much larger --- and more dangerous --- force is galloping straight for them.

From the New York Times bestselling author of RED RABBIT comes a supernatural horror where ghosts and ghouls are the least of a witch’s problems in 19th-century New England.

Something wicked is going on in the village of Ascension. A mother wasting away from cancer is suddenly up and about. A boy trampled by a milk cart walks away from the accident. A hanged man can still speak, broken neck and all.

The dead are not dying.

When Rabbit and Sadie Grace accompany their friend, Rose, to Ascension to help take care of her ailing cousin, they immediately notice that their new house, Bethany Hall, is occupied by dozens of ghosts. And something is waiting for them in the attic.

The villagers of Ascension are unwelcoming and wary of their weird visitors. As the three women attempt to find out what’s happening in the town, they must be careful not to be found out. But a much larger --- and more dangerous --- force is galloping straight for them.

Audiobook available, read by John Pirhalla