Adult

Harriet Tubman --- no-nonsense, funny, uncannily prescient and strategically brilliant --- was one of the most important conductors on the underground railroad and hid the enslaved men, women and children she rescued in the basement kitchens of Martha Wright, Quaker mother of seven, and Frances Seward, wife of Governor, then Senator, then Secretary of State William H. Seward. Beginning two decades before the Civil War, when Tubman was still enslaved and Martha and Frances were young women bound by law and tradition, THE AGITATORS ends two decades after the war, in a radically changed United States.

Freya Lyell is struggling to move on from her sister Stella’s death five years ago. Visiting the bewitching Byrne Hall, only a few miles from the scene of the tragedy, she discovers a portrait of Stella --- a portrait she had no idea existed, in a house Stella never set foot in. Or so she thought. Driven to find out more about her sister’s secrets, Freya is drawn into the world of Byrne Hall and its owners: charismatic artist Cory and his sinister, watchful mother. But as Freya lingers in this mysterious, centuries-old house, her relationship with Cory crosses the line into obsession, and the darkness behind the locked doors of the estate threatens to spill out.

Twelve-year old Karin is blindfolded and dropped into the Hoge Veluwe National Forest with three other children. With nothing but a few basic supplies and emergency food, the children are tasked with working together to navigate one of the Netherlands' most beautiful and wild locations and return to where their families are anxiously waiting. Karin quickly finds herself at odds with two of the older teens, and suddenly looks up to see that the other children have vanished. As Karin struggles against the elements to find her way back, she soon realizes that something far more sinister lurks in the woods. While Karin fights for survival, and Grace hastens to find her daughter, the night culminates in the reveal of a deadly secret --- and a shocking confrontation --- that will push each of them to her edge.

It’s the summer of 1994 in Claypot, Wisconsin, and the lives of 10-year-old Fischer “Fish” Branson and Dale “Bread” Breadwin are shaped by the two fathers they don’t talk about. One night, tired of seeing his best friend bruised and terrorized by his no-good dad, Fish takes action. A gunshot rings out, and the two boys flee the scene, believing themselves murderers. They head for the woods, where they find their way onto a raft. Four adults track them into the forest: Fish’s mother, Miranda, a wise woman full of fierce faith; his granddad, Teddy, who knows the woods like the back of his hand; Tiffany, a purple-haired gas station attendant and poet looking for connection; and Sheriff Cal, who’s having doubts about a life in law enforcement.

Lila Bruce Breedlove never quite felt at home in Wesleyan, Georgia, especially after her father’s untimely demise when she was a child. Both Lila and her brother, Henry, fled north after high school, establishing fulfilling lives of their own. In contrast, their younger sister, Abigail, opted to remain behind to dote on their domineering, larger-than-life mother, Geneva. When their elderly mother dies suddenly and suspiciously in the muscadine arbor behind the family estate, Lila and Henry return to the town that essentially raised them. But as they uncover more about Geneva’s death, shocking truths are revealed that overturn the family’s history as they know it, sending the pair on an extraordinary journey to chase a truth that will dramatically alter the course of their lives.

In SO MANY WAYS TO LOSE, author and lifelong Mets fan Devin Gordon sifts through the detritus of Queens for a baseball history like no other. Remember the time the Mets lost an All-Star after he got charged by a wild boar? Or the time they blew a six-run ninth-inning lead at the peak of a pennant race? Or the time they fired their manager before he ever managed a game? Sure you do. It was only two years ago, and it was all in the same season. The Mets have an unrivaled gift for getting it backward, doing the impossible, snatching victory from the jaws of defeat, and then snatching defeat right back again.

Glenn Frankel’s SHOOTING MIDNIGHT COWBOY tells the story of a modern classic that, by all accounts, should never have become one in the first place. The film’s boundary-pushing subject matter --- homosexuality, prostitution, sexual assault --- earned it an X rating when it first appeared in cinemas in 1969. For Midnight Cowboy, director John Schlesinger enlisted Jerome Hellman, a producer coming off his own recent flop and smarting from a failed marriage, and Waldo Salt, a formerly blacklisted screenwriter with a tortured past. The decision to shoot on location in New York, at a time when the city was approaching its gritty nadir, backfired when a sanitation strike filled Manhattan with garbage fires and fears of dysentery.

On the day she returns to active duty with the Serial Crimes Unit, Detective Inspector Anjelica Henley is called to a crime scene. Dismembered body parts from two victims have been found by the river. The modus operandi bears a striking resemblance to Peter Olivier, the notorious Jigsaw Killer, who has spent the past two years behind bars. When he learns that someone is co-opting his grisly signature --- the arrangement of victims’ limbs in puzzle-piece shapes --- he decides to take matters into his own hands. As the body count rises, DI Henley is faced with an unspeakable new threat. Can she apprehend the copycat killer before Olivier finds a way to get to him first? Or will she herself become the next victim?

Following her mother’s death, 14-year-old Ava is on a train heading to New Orleans, to stay with the grandmother she barely remembers. Lane is a well-known artist in the New Orleans art scene. She spends most of her days in a pot-smoke haze, sipping iced coffee, and painting, which has been her singular focus for years. Ava’s arrival unsettles Lane. The girl bears an uncanny resemblance to her daughter, from whom she was estranged before her death. Now her presence is dredging up painful and disturbing memories, which forces Lane to retreat even further into her own mind. As Ava and Lane attempt to form a bond, the oppressive heat and history of New Orleans bears down on them, forcing a reckoning neither of them are ready for.

When “The Fourth State of Matter,” her now famous piece about a workplace massacre at the University of Iowa, was published in The New Yorker, Jo Ann Beard immediately became one of the most influential writers in America, forging a path for a new generation of young authors willing to combine the dexterity of fiction with the rigors of memory and reportage, and in the process extending the range of possibility for the essay form. Now, with FESTIVAL DAYS, Beard brings us the culmination of her groundbreaking work. In these nine pieces, she captures both the small, luminous moments of daily existence and those instances when life and death hang in the balance.