We tend to think of William Styron as a novelist—and rightly so, given the enduring power of such works at The Confessions of Nat Turner and Sophie’s Choice. Yet Styron, who would have been 90 years old on June 11, was also a prolific and gifted writer of nonfiction, as the doorstop-sized new collection, My Generation, makes plain. This gathering of essays, journalism, book reviews, memoirs and occasional pieces, written over 50 years, offers a congenial glimpse into this eminent American writer’s life and mind.
Almost-13-year-old Delphine, middle sister Vonetta and baby sister Fern Gaither are back in the final installment of the award-winning series by Rita Williams-Garcia. This time they’re spending the summer of 1969 in Alabama with their grandmother (Big Ma), great-grandmother (Ma Charles) and great-aunt (Miss Trotter).
The diamond mines of Marange in Zimbabwe serve as the setting for this portrait of a family in turmoil, which focuses on a tenacious 15-year-old boy named Patson Moyo. Patson and his little sister, Grace, adore their father, a man who has dedicated his life to teaching. But it is their new stepmother, known simply as “the Wife,” who compels her husband to leave his home and seek wealth by moving to Marange, where her brother James is involved in mining. In Marange, she claims, there are “diamonds for everyone.”
And so Netherton enlists Flynne in an investigation in his world that could never have been possible in hers. Leave it to Gibson to break down our innate resistance to time travel by using our uncertainty about the mechanics of high-speed computing to make the impossible seem plausible.
The baffling 1922 murder of director William Desmond Taylor gets true-crime treatment in Tinseltown, a compelling interweaving of star power, the machinations of power brokers and the desperation of the wannabes and the washed up. Together they provide the book’s apt subtitle: “Murder, Morphine, and Madness at the Dawn of Hollywood."
Paranormal investigator R.F. Jackaby sees what no one else can—banshees, leprechauns, even monsters. If they’re wreaking havoc in New Fiddleham, Jackaby is on the case. What he can’t manage to do is keep an assistant—until he meets the spunky Abigail Rook. Adventurous and keenly observant, Abigail has fled her wealthy British upbringing to make her own way in 19th-century New England.
Dee Williams was living the dream—the American Dream. She had a three-bedroom house with a driveway and a mortgage. She had stopped spending weekends in the mountains with her friends, trading that carefree existence for more adult matters such as rewiring the bathroom. She worked full-time and traveled too much. Then one day, she woke up in the emergency room, diagnosed with a life-threatening heart condition. Life was never going to be the same, but not in the usual way these stories go.
There is a near irresistible urge to believe what we want to believe, even in the face of conflicting evidence. Seldom has that regrettable impulse been demonstrated more starkly than in 2006 when three members of the Duke University lacrosse team were charged with raping a woman they had hired to perform at a party as an “exotic dancer.” The accused were white men from well-to-do Northern families and the accuser a poor local black woman with two young children to support. With its overtones of racism, regionalism, gender advantage and class privilege, the situation couldn’t have been more dramatic—or potentially explosive.
William Shaw, an award-winning pop-culture journalist, does a standout job with his debut novel, She’s Leaving Home. This British crime thriller has a compelling whodunit plot staged in ’60s London, rampant with racism, sexism and an ever-growing counterculture of groupies clinging to the belief that love is all you need.
Since the 1960s, artist William Wegman has captured his beloved Weimaraners in iconic poses that have appeared in books for adults and children, postcards, calendars and posters, to name a few. But it has been a decade since Wegman released a new children’s book, and he does so now with a twist on his familiar approach.In his new picture...