Modern Romance September 2016 Books 5 8 The Sheikh S Baby Scandal One Night With Consequences Defying The Billionaire S Command The Secret Beneath The Veil The Mistress That Tamed De Santis The Throne Of San Felipe

This literary debut is the story of a young man's twin obsessions - adoration for a girl met on a trip to Australia seven years earlier, and grief over the death of his mother when he was a child. Structured around an auction catalogue, using objects as the springboard for each chapter, it's both a psychological thriller and an unusual love story.

In this “complex, compelling” novel by the New York Times–bestselling author, a troubled woman uncovers the mysteries of her own past (Kirkus Reviews). Abandoned by her young mother, unsure of her father’s identity, and raised by her prominent aunt and uncle, thirty-year-old Fiona Range has developed a high threshold for emotional pain. Her recklessness, generosity, and poor judgment have landed her in more scrapes than her affluent family—or small-town community—can tolerate. Beautiful, volatile, and smart-tongued (or trashy, erratic, and wild, depending on whom you ask), Fiona hits rock bottom after she wakes up with a hangover and a strange man in her bed. Alienated from relatives and friends but determined to change, Fiona turns to the men in her life—among them, cruel and unstable Patrick Grady, who denies she is his daughter. When her gentle cousin Elizabeth arrives home with fiancé in tow, it sparks a storm where past mistakes and current passions collide.

New York Times Bestseller: A lawyer is tormented by a destitute, emotionally unstable man—until one shocking moment changes everything: “A great plot.” —Los Angeles Times Jacob Schiff has a good career, a beautiful home in New York City, and a loving family. John Gates has none of those things. A psychiatric patient with a traumatic past, John received professional treatment from Jacob’s wife, with little success. Now, he’s following her and lingering near the Schiffs’s front door, menacing and harassing them at every opportunity—convinced that what Jacob has rightfully belongs to him instead. But Jacob Schiff has endured some brutal experiences too, and he has an angry streak. When, in desperation, he decides to take action to protect himself and his loved ones, the encounter takes a turn he didn’t predict, and everything he was trying to save may be utterly destroyed. From the Edgar Award–winning author of Slow Motion Riot and Sunrise Highway, this “gripping” novel “develops into a raw-nerved courtroom thriller . . . a harrowing, compelling read” (The New York Times). “More than a story about a man protecting his family. It’s about a man losing faith—in love, God, and humanity—and the possibility of regaining it.” —Pittsburgh Post-Gazette “The Intruder is un-putdownable.” —Stephen King “A disturbing, cathartic climax.” —Entertainment Weekly “Irresistible.” —Kirkus Reviews, starred review “A tour de force.” —Publishers Weekly, starred review

Niall Duthie's triumphant third novel: a pillow book (designed to be read in ten-minute stretches before bed) about the nature of perception in the twentieth century

Destined for a Christmas film release from Columbia Pictures, this heartfelt novel by the co-screenwriter of "Sleepless in Seattle" is about a woman trying to keep her life and her loose-cannon family in order. "Delia Ephron is blessed with the driest of wits, the tenderest of hearts, and an uncanny ear for the way people talk."--Armistead Maupin. The movie will star Meg Ryan and Diane Keaton.

It was not complicated, and, as my mother pointed out, not even personal: They had a hotel; they didn't want Jews; we were Jews...It's the early 1960s and Natalie Marx is stunned when her mother inquires about vacation accommodations in Vermont and receives a response that says, "The Inn at Lake Devine is a family-owned resort, which has been in continuous operation since 1922. Our guests who feel most comfortable here, and return year after year, are Gentiles." So begins Natalie's fixation with the Inn and the family who owns it. And when Natalie finagles an invitation to join a friend on vacation there, she sets herself upon a path that will inextricably link her adult life into this peculiar family and their once-restricted hotel. The Inn at Lake Devine will enchant readers with the beguiling voice, elegant charm, and deft storytelling that have been hallmarks of Elinor Lipman's previous novels and have made her beloved by her fans. Her characters sparkle on the page and delight us with their wit and grace--even when anti-Semitism rears its head in Vermont and the tables are turned in the Catskills. Elinor Lipman is the undisputed master of the art of screwball comedy.

‘Into its 120 pages, Möring folds a war memoir, a family psychodrama and a meditation on time and memory. It is a miracle of compression: everything is significant...one races through it, eager to discover the heart of the mystery.’ Guardian

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.