Family Genre

Junie Raines is ready for a second chance at life on a sunny island off the coast of Southern California. She’s managing the gift shop at the Majestic Hotel, a Victorian-era beach resort, and her sister Maileah is trying her patience with her sibling rivalry. It’s been two years since Junie’s husband died. She longs for a second chance to have a family while she’s still young, but dating has its challenges with Maileah around. Junie is looking for a beach cottage, and her sister is determined to move in with her.

At home they are just sisters, but on stage, they are The Salvations. Ruth, Esther, and Chloe have been singing and dancing in harmony since they could speak. Thanks to the rigorous direction of their mother, Vivian, they’ve become a bona fide girl group whose shows are the talk of the Jazz-era Fillmore.

When Stella, a young Métis mother, looks out her window one evening and spots someone in trouble on the Break - a barren field on an isolated strip of land outside her house - she calls the police to alert them to a possible crime. In a series of shifting narratives, people who are connected, both directly and indirectly, with the victim - police, family, and friends - tell their personal stories leading up to that fateful night.

After the death of her wife, Shelby is suffering from prolonged grief. She’s increasingly isolated, irritated by her family’s stoicism and her friends’ reliance on the toxic positivity of self-help culture. Then, in a grief support group, she meets Cammie, who gives Shelby permission to express her most hopeless, hideous feelings. Cammie is charismatic and unlike anyone Shelby has ever met. She’s also recovering from cancer and going through several other calamities.

Helen Carpenter can’t quite seem to bounce back. Newly divorced at thirty-two, her life has fallen apart beyond her ability to put it together again. So when her annoying younger brother, Duncan, convinces her to sign up for a hardcore wilderness survival course in the backwoods of Wyoming—she hopes it’ll be exactly what she needs.

Ruth is a woman who believes in and despairs of the curative power of love. Her daughter, Eleanor, who is addicted to drugs, has just had a baby, Lily. Ruth adjusts herself in ways large and small to give to Eleanor what she thinks she may need—nourishment, distance, affection—but all her gifts fall short. After someone dies of an overdose in Eleanor's apartment, Ruth hands her daughter an envelope of cash and takes Lily home with her, and Lily, as she grows, proves a compensation for all of Ruth's past defeats and disappointment. Love without fear is a new feeling for her.

Quiet Funke is happy in Nigeria. She loves her art teacher mother, her professor father, and even her annoying little brother (most of the time). But when tragedy strikes, she’s sent to England, a place she knows only from her mother’s stories. To her dismay, she finds the much-lauded estate dilapidated, the food tasteless, the weather grey. Worse still, her mother’s family are cold and distant. With one exception: her cousin Liv.

An unlikely criminal, Andy Durant is robbing gas stations to buy back land once connected to his wife's farm in upstate New York. But when he's shot and killed during a robbery, he leaves his wife, Grady, and their three children to fend for themselves. Moving back to the debt-laden farm, Grady ignites a plan that involves getting in the middle of an adjoining neighbor's marriage. Meanwhile, one by one the whole family is charmed by Royal Provo, a young and charismatic orphan working on the property.

Pacific Hills, California: Gated communities, ocean views, well-tended lawns, serene pools, and now the new home of the Shah family. For the Shah parents, who came to America twenty years earlier with little more than an education and their new marriage, this move represents the culmination of years of hard work and dreaming. For their children, born and raised in America, success is not so simple. For the most part, these differences are minor irritants, arguments between parents and children, older and younger siblings. But one night, the twelve-year-old son is arrested.

Cy Riemer is the patriarch of a successful and loving Chicago family. But not all is copacetic in Cy's world. The scientific newsletter he publishes is foundering financially, his ex-wife still relies on him for money and intimacy, and he can never seem to find the time or the wherewithal to relax. Much of Cy's stress is caused by the trouble he has with his brilliant and duplicitous son, Jack.

Five years ago, Geeta lost her no-good husband. As in, she actually lost him—he walked out on her and she has no idea where he is. But in her remote village in India, rumor has it that Geeta killed him. And it’s a rumor that just won’t die.

In the powerful, haunting stories of Munro’s collection, men and women, in the midst of contemporary quandaries and crises, recall the long-buried yearnings, dreams, and hard choices that have given shape to their lives.

C'est l'heure des grandes décisions chez les Lafrance. Alors que les jumeaux célèbrent leur premier anniversaire, un nouvel enfant s'annonce au sein de la famille au moment où Marie-Thérèse rêve d'une vie différente, plus douce, ailleurs. D'autant plus que les bouleversements se multiplient dans la parenté, avec la maladie, les amours compliquées, la lourdeur du quotidien.

Fight Night is told in the unforgettable voice of Swiv, a nine-year-old living in Toronto with her pregnant mother, who is raising Swiv while caring for her own elderly, frail, yet extraordinarily lively mother. When Swiv is expelled from school, Grandma takes on the role of teacher and gives her the task of writing to Swiv's absent father about life in the household during the last trimester of the pregnancy.

For Tabitha Walker, her grandmother’s old adage, “Black girls must die exhausted” is becoming all too true. Discovering she’s pregnant—after she was told she may not be able to have biological children—Tabitha throws herself headfirst into the world of “single mothers by choice.” Between her job, doctor’s appointments, and preparing for the baby, she’s worn out. And that’s before her boss at the local news station starts getting complaints from viewers about Tabitha’s natural hair.

Patrick O’Hara is back. It’s been five years since his summer as his niece Maisie and nephew Grant’s caretaker after their mother’s passing. The kids are back in Connecticut with their dad, and Patrick has relocated to New York to remain close by and relaunch his dormant acting career. After the run of his second successful sit-com comes to a close, Patrick feels on top of the world . . . professionally. But some things have had to take a back seat. Looking down both barrels at fifty, Patrick is single again after breaking things off with Emory.

When Kyle McCray gets word his father has suffered a debilitating stroke, he returns to his hometown of Potsdam, New York, where he doesn’t expect a warm welcome. Kyle left suddenly two and a half years ago, abandoning people who depended on him: his father, his employees, his friends—not to mention Casey, his wife of sixteen years and a beloved teacher in town. He plans to lie low and help his dad recuperate until he can leave again, especially after Casey makes it clear she wants him gone.

Twelve-year-old Bird Gardner lives a quiet existence with his loving father, a former linguist who now shelves books in a university library. His mother, Margaret, a Chinese American poet, left without a trace when he was nine years old. He doesn’t know what happened to her—only that her books have been banned—and he resents that she cared more about her work than about him.

C'est pas moi, je le jure?! étonne par sa fraîcheur et sa verve, par sa vision du monde de l'enfance, par son imaginaire débridé. À trente-neuf ans, soit l'âge qu'aurait aujourd'hui son petit héros, l'auteur est manifestement resté très près de ses premières années. - Marie-Claude Fortin, Voir

Beloved author Elizabeth Gilbert returns to fiction with a unique love story set in the New York City theater world during the 1940s. Told from the perspective of an older woman as she looks back on her youth with both pleasure and regret (but mostly pleasure), City of Girls explores themes of female sexuality and promiscuity, as well as the idiosyncrasies of true love. In 1940, nineteen-year-old Vivian Morris has just been kicked out of Vassar College, owing to her lackluster freshman-year performance.