In eight poetically charged vignettes, Geoff Dyer skillfully evokes the music and the men who shaped modern jazz.

It is 1985 in a small Irish town. During the weeks leading up to Christmas, Bill Furlong, a coal merchant and family man, faces into his busiest season. Early one morning, while delivering an order to the local convent, Bill makes a discovery that forces him to confront both his past and the complicit silences of a town controlled by the church.

Theo Byrne is a promising young astrobiologist who has found a way to search for life on other planets dozens of light years away. He is also the widowed father of a most unusual nine-year-old. His son, Robin, is funny, loving, and filled with plans. He thinks and feels deeply, adores animals, and can spend hours painting elaborate pictures. He is also on the verge of being expelled from third grade for smashing his friend's face with a metal thermos.

When Ada Calhoun stumbled upon old cassette tapes of interviews her father, celebrated art critic Peter Schjeldahl, had conducted for his never-completed biography of poet Frank O’Hara, she set out to finish the book her father had started 40 years earlier. As a lifelong O’Hara fan who grew up amid his bohemian cohort in the East Village, Calhoun thought the project would be easy, even fun, but the deeper she dove, the more she had to face not just O’Hara’s past, but also her father’s and her own.

To the Lighthouse is Virginia Woolf’s arresting analysis of domestic family life, centering on the Ramseys and their visits to the Isle of Skye in Scotland in the early 1900s. Nicole Kidman (Moulin Rouge, Eyes Wide Shut), who won an Oscar for her portrayal of Woolf in the film adaptation of Michael Cunningham’s Pulitzer Prize-winning novel

The Hours, brings the impressionistic prose of this classic to vibrant life.

In this first draft of the world, a woman named Mira leaves home to study. There, she meets Annie, whose tremendous power opens Mira’s chest like a portal—to what, she doesn’t know. When Mira is older, her beloved father dies, and his spirit passes into her.

In her memoir You Could Make This Place Beautiful, poet Maggie Smith explores the disintegration of her marriage and her renewed commitment to herself in lyrical vignettes that shine, hard and clear as jewels. The book begins with one woman’s personal, particular heartbreak, but its circles widen into a reckoning with contemporary womanhood, traditional gender roles, and the power dynamics that persist even in many progressive homes.

Who says you can't run away from your problems? You are a failed novelist about to turn 50. A wedding invitation arrives in the mail: Your boyfriend of the past nine years is engaged to someone else. You can't say yes—it would be too awkward—and you can't say no—it would look like defeat. On your desk are a series of invitations to half-baked literary events around the world. Question: How do you arrange to skip town? Answer: You accept them all. What would possibly go wrong?

Douglas Petersen may be mild-mannered, but behind his reserve lies a sense of humor that seduces beautiful Connie into a second date...and eventually into marriage. Now, almost three decades later, they live more or less happily in the London suburbs with their moody seventeen year-old son, Albie. Then Connie tells him she thinks she wants a divorce. The timing couldn’t be worse. Connie has planned a month-long tour of European capitals, a chance to experience the world’s greatest works of art as a family, and she can’t bring herself to cancel. And maybe going ahead is for the best anyway? Douglas is privately convinced that this landmark trip will rekindle the romance in the marriage, and might even help him to bond with Albie. Narrated from Douglas’s endearingly honest, slyly witty, and at times achingly optimistic point of view, Us is the story of a man trying to rescue his relationship with the woman he loves, and learning how to get closer to a son who’s always felt like a stranger.

Across seven tales, Haruki Murakami brings his powers of observation to bear on the lives of men who, in their own ways, find themselves alone. Here are lovesick doctors, students, ex-boyfriends, actors, bartenders, and even Kafka’s Gregor Samsa, brought together to tell stories that speak to us all. In Men Without Women, Murakami has crafted another contemporary classic, marked by the same wry humor and pathos that have defined his entire body of work.

From the novelist the New York Times compares to Paul Bowles, Evelyn Waugh, and Ian McEwan, an evocative new work of literary suspense. Adrift in Cambodia, Robert Grieve - pushing 30 and eager to sidestep a life of quiet desperation as a small-town teacher - decides to go AWOL. As he crosses the border from Thailand, he tests the threshold of a new future.

This novel centres on the friendship of William Beckwith, a young gay aristocrat who leads a life of privilege and promiscuity, and the elderly Lord Nantwich, who is searching for someone to write his biography.

David Rakoff's best-selling collection of autobiographical essays, Fraud, established him as one of today's funniest and most insightful writers. Now, in Don't Get Too Comfortable, Rakoff moves from the personal to the public, journeying into the land of unchecked plenty that is contemporary America. Rarely have greed, vanity, selfishness, and vapidity been so mercilessly and wittily skewered.

Nine men. Each of them at a different stage in life, each of them away from home, and each of them striving - in the suburbs of Prague, in an overdeveloped Alpine village, beside a Belgian motorway, in a dingy Cyprus hotel - to understand what it means to be alive here and now. Tracing a dramatic arc from the spring of youth to the winter of old age, the ostensibly separate narratives of All That Man Is aggregate into a picture of a single shared existence.

Set against the backdrop of a lush and exotic Greece, The Names is considered the book that began to drive "sharply upward the size of his readership" ( Los Angeles Times Book Review). Among the cast of DeLillo's bizarre yet fully realized characters in The Names are Kathryn, the narrator's estranged wife; their son, the six-year-old novelist; Owen, the scientist; and the neurotic narrator obsessed with his own neuroses.