LITERATURA EN OTROS IDIOMAS

NICOLE “NIC” MONROE IS IN A RUT. At twenty-four, she lives N alone in a dinky apartment in her hometown óf Mishawaka, Indiana; she's just gotten a DWI; and she's been working the | same dead-end job since high school, a job she has only because her, boss is a family friend and feels sorry for her. Everyone has felt sorry | for her for the last seven years—since the day her older sister, Kasey, M vanished without a trace. On the night Kasey went missing, her car was found over a hundred miles from home. The driver's door was open and her purse was untouched “in the seat next to it. The only real clue in her disappearance was Jules Connor, another young woman from the same area who disappeared in the same way, two weeks earlier. But with so little for the police to go on, both cases eventually went cold. Nic wants nothing more than to move on from her sister's disappearance and the state it's left her in. But then one day, Jules's sister, Jenna Connor, walks into Nic's life and offers her something she hasn't felt in a long time: hope. What follows is a gripping tale of two sisters who will . do anything to find their missing halves, even if it means destroying everything they've ever known.

It is 1940 and twenty-year-old Charlotte Richmond watches from her attic window as enemy planes fly over London. Still grieving her beloved brother, who never returned from France, she is trying to keep herself out of trouble: holding down a typist job at the Ministry of Information, sharing gin and confidences with her best friend, Elena, and dodging her overbearing father. On her way to work she often sees the boy who feeds the birds—a source of unexpected joy amid the rubble of the Blitz. But every day brings new scenes of devastation, and after yet another heartbreaking loss Charlotte has an uncanny sense of foreboding. Someone is stalking the darkness, targeting her friends. And now he’s following her. As grief and suspicion consume her, Charlotte’s nerves become increasingly frayed. She no longer knows whom to trust. She can’t even trust herself . . .

“When Gregor Samsa woke up one morning from unsettling dreams, he found himself changed in his bed into a monstrous vermin.” With this startling, bizarre, yet surprisingly funny first sentence, Franz Kafka begins his masterpiece, The Metamorphosis. It is the story of a young man who, transformed overnight into a giant beetlelike insect, becomes an object of disgrace to his family, an outsider in his own home, a quintessentially alienated man. A harrowing—though absurdly comic—meditation on human feelings of inadequacy, guilt, and isolation, The Metamorphosis has taken its place as one of the most widely read and influential works of twentieth-century fiction.

Evie Jones has dedicated her life and very limited funds working for Southern Service Paws, the company that matched her with the love of her life: Charlie, a service dog trained to assist with her epilepsy. But it’s no secret that the company has been struggling to make ends meet. It’s up to her and her longtime mentor and boss to throw the fundraiser of the century to keep the doors open. Then Evie meets Jacob Broaden at a client consultation meeting. There are instant sparks—but not the good kind, because Jacob’s daughter set up the meeting without his knowledge. Ten-year-old Sam has been recently diagnosed with epilepsy, and has wanted a service animal ever since. While he had hesitations at first, it doesn’t take long for Jacob to be convinced that a service dog, and possibly Evie, with her magical, woodland-green eyes, might just be the best thing for him and his daughter. As Evie spends more time with Jacob and helps Sam find her perfect match with a lovable golden retriever named Daisy, she starts longing for something she’s never had before: a loving family. For Jacob, falling in love with Evie is the last thing he should be doing, but love has a way of finding those who need it most.

Florence, the 1550s. Lucrezia, third daughter of the grand duke, is comfortable with her obscure place in the palazzo: free to wonder at its treasures, observe its clandestine workings, and devote herself to her own artistic pursuits. But when her older sister dies on the eve of her wedding to the ruler of Ferrara, Modena and Reggio, Lucrezia is thrust unwittingly into the limelight: the duke is quick to request her hand in marriage, and her father just as quick to accept on her behalf. Having barely left girlhood behind, Lucrezia must now enter an unfamiliar court whose customs are opaque and where her arrival is not universally welcomed. Perhaps most mystifying of all is her new husband himself, Alfonso. Is he the playful sophisticate he appeared to be before their wedding, the aesthete happiest in the company of artists and musicians, or the ruthless politician before whom even his formidable sisters seem to tremble?