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General Fiction
Dreams of Drowning is a work of magical realism that moves between real time where lives are buffeted by political conflict, tragedy and loss and another mysterious time where pain is healed, and love is eternal.
It's 1973 and Amy, an American ex-pat, is living as an illegal immigrant in Toronto where she's fled to escape the scandal surrounding her twin sister's death by drowning. Joanie's been gone two years, but Amy still hears her cries for help. Romance would jeopardize the secrets Amy has to keep, but when she meets Arcus, a graduate student working to restore democracy in Greece, she falls hard. Arcus doesn't know about Amy's past, and she doesn't know Arcus has secrets of his own, including the shady history of an ancient relic he uses as a paperweight.
In 1993 Toronto, Jacob Kanter, a retired archaeologist, is mourning his dear wife and grappling with his son's plans to move him to a nursing home. Despite double vision, tremors, and cognitive impairment, he remembers sailing as a youth and sets out toward the lake where he boards a ferry boat embarking on its maiden voyage. He expects a short harbor cruise, but the Aqua Meridian is larger than it looks, and time is slippery on the water. When he hears a drowning woman call for help his story merges with Amy's, and they discover they have unexpected gifts for one another.
A feel-good journey of possibility, second chances, and falling in love again...with life. Perfect for fans of P.S. I Love You!
"A lively, witty ride with a strong cast of supporting characters. Avery tackles the topic of grief in a way that manages to feel lighthearted and profound at the same time." --Meg Mitchell Moore, bestselling author of Summer Stage
Robin Lindstrom spent her first year as a young widow cocooned in the safe haven of the Minnesota farmhouse she'd once shared with Gabe, the love of her life--the man she thought she'd be with 'til the end. But her world is turned upside down when she receives an email informing her that her late husband has enrolled her in a dating app. The subscription lasts 12 months; use it!, Gabe's message-from-the-grave reads. I don't like the thought of you being alone. If you won't do it for yourself, do it as a favor to me. Please.
How could Gabe, of all people, be asking her to venture out into the murky waters of 21st century online dating? As her underemployed brother, Theo, points out, it's "only" for a year, and it's basically Gabe's last request.
And so, Robin tentatively takes steps to put herself out into the world once more, even if it means awkward outings at bowling alleys, club-hopping with DJs, and stammering conversations at dinner. Along the way, she's surprised to find herself meeting new people, trying new things...and even getting to know a new version of herself. Because everyone deserves a second chance at love--and loving life.
In the endless days of the pandemic, a woman spends her time sorting fact from fiction in the life and work of Herman Melville. As she delves into Melville's impulsive purchase of a Massachusetts farmhouse, his fevered revision of Moby-Dick there, his intense friendship with neighbor Nathaniel Hawthorne, and his troubled and troubling marriage to Elizabeth Shaw, she becomes increasingly obsessed by what his devotion to his art reveals about cost, worth, and debt. Her preoccupation both deepens and expands, and her days' work extends outward to an orbiting cast of Melvillean questers and fanatics, as well as to biographers and writers--among them Elizabeth Hardwick and Robert Lowell--whose lives resonate with Melville's. As she pulls these distant figures close, her quarantine quest ultimately becomes a midlife reckoning with her own marriage and ambition.
Absorbing, charming, and intimate, Dayswork considers the blurry lines between life and literature, the slippage between what happens and what gets recorded, and the ways we locate ourselves in the lives of others. In wry, epigrammatic prose, Chris Bachelder and Jennifer Habel have crafted an exquisite and daring novel.
In the endless days of the pandemic, a woman spends her time sorting fact from fiction in the life and work of Herman Melville. As she delves into Melville's impulsive purchase of a Massachusetts farmhouse, his fevered revision of Moby-Dick there, his intense friendship with neighbor Nathaniel Hawthorne, and his troubled and troubling marriage to Elizabeth Shaw, she becomes increasingly obsessed by what his devotion to his art reveals about cost, worth, and debt. Her preoccupation both deepens and expands, and her days' work extends outward to an orbiting cast of Melvillean questers and fanatics, as well as to biographers and writers--among them Elizabeth Hardwick and Robert Lowell--whose lives resonate with Melville's. As she pulls these distant figures close, her quarantine quest ultimately becomes a midlife reckoning with her own marriage and ambition.
Absorbing, charming, and intimate, Dayswork considers the blurry lines between life and literature, the slippage between what happens and what gets recorded, and the ways we locate ourselves in the lives of others. In wry, epigrammatic prose, Chris Bachelder and Jennifer Habel have crafted an exquisite and daring novel.
Doug says: The way the interwoven lives of the authors connect with the Melvillean true tale and all the writers between. It is truly a "love letter to literature." The blurbs on the dust jacket are all you need. My choice for great book of the year. This is our top staff pick of 2023. Doug, Andrea, Roxanne, Bryn and Ben all loved it.
#1 New York Times bestselling author Fredrik Backman returns with an unforgettably funny, deeply moving tale of four teenagers whose friendship creates a bond so powerful that it changes a complete stranger's life twenty-five years later.
Most people don't even notice them--three tiny figures sitting at the end of a long pier in the corner of one of the most famous paintings in the world. Most people think it's just a depiction of the sea. But Louisa, an aspiring artist herself, knows otherwise, and she is determined to find out the story of these three enigmatic figures.
Twenty-five years earlier, in a distant seaside town, a group of teenagers find refuge from their bruising home lives by spending long summer days on an abandoned pier, telling silly jokes, sharing secrets, and committing small acts of rebellion. These lost souls find in each other a reason to get up each morning, a reason to dream, a reason to love.
Out of that summer emerges a transcendent work of art, a painting that will unexpectedly be placed into eighteen-year-old Louisa's care. She embarks on a surprise-filled cross-country journey to learn how the painting came to be and to decide what to do with it. The closer she gets to the painting's birthplace, the more nervous she becomes about what she'll find. Louisa is proof that happy endings don't always take the form we expect in this stunning testament to the transformative, timeless power of friendship and art.
Claire Baglin's On the Clock packs a family saga, a penetrating picture of social inequality, and a coming-of-age story into a compact tale told in two alternating strands. The first follows the 20-year-old narrator's summer job at a fast food franchise and the other shows us moments from her childhood with her family, with a particular focus on her hapless, infuriating, good-hearted father, a low-paid but devoted electrician in a factory with an upside-down smile. These two skeins sketch out in swift turns two stories of underappreciated work: one covering several decades, the other a summer; one constituting a sort of life, the other a stopgap on the way to something different (the narrator is a college student). With a keen eye for eloquent details and sharp ear for workplace jargon, her dry humor, and a crisp compelling style, Baglin's depiction of their lives is particularly rich, at once affectionate and alienated. Working the alternating strands in a way reminiscent of Georges Perec's W or the The Memory of Childhood, the past is remarkably vivid in On the Clock: her childhood memories of their bleak small town and of summer vacations spent at campgrounds by the sea in Brittany. And the present blazes in scenes of the young woman's current fast-food trial: the awful boss, the nasty manager, and all the tedium and horror of dead-end work:
Slowly the oven door opens and a nursery-school tune announces that the salad rolls can come out [and] I'm mired in the heart of pointlessness. I stick a straw into the whipped cream but don't take off the end of the paper wrapper so they'll know it hasn't been used, I'm conscientious.