coming-of-age

Raven Leilani

Light Paperback (1 lb or less)

Minnesota

A Novel

A NEW YORK TIMES NOTABLE BOOK OF THE YEAR A BEST BOOK OF THE YEAR: NPR, O Magazine, Vanity Fair, Los Angeles Times, Glamour, Shondaland, The New York Times Book Review, Boston Globe, Buzzfeed, Kirkus, Time, Good Housekeeping, InStyle, The Guardian, Literary Hub, Electric Literature, Self, The New York Public Library, Town & Country, Wired, Boston.com, Happy Mag, New Statesman, Vox, Shelf Awareness, Chatelaine, The Undefeated, Apartment Therapy, Brooklyn Based, The End of the World Review, Exile in Bookville, Lit Reactor, BookPage, i-D A FAVORITE BOOK OF THE YEAR: The New Yorker, Barack Obama A BEST BOOK FOR HOLIDAY GIFTS: AV Club, Chicago Tribune, New York Magazine/The Strategist, The Rumpus WINNER of the Kirkus Prize and the Center for Fiction First Novel Prize AN INSTANT NEW YORK TIMES BESTSELLER NATIONAL INDIE BESTSELLER * LOS ANGELES TIMES BESTSELLER * WASHINGTON POST BESTSELLER "So delicious that it feels illicit . . . Raven Leilani’s first novel reads like summer: sentences like ice that crackle or melt into a languorous drip; plot suddenly, wildly flying forward like a bike down a hill." —Jazmine Hughes, The New York Times Book Review “An irreverent intergenerational tale of race and class that’s blisteringly smart and fan-yourself sexy.” —Michelle Hart, O: The Oprah Magazine No one wants what no one wants. And how do we even know what we want? How do we know we’re ready to take it? Edie is stumbling her way through her twenties—sharing a subpar apartment in Bushwick, clocking in and out of her admin job, making a series of inappropriate sexual choices. She is also haltingly, fitfully giving heat and air to the art that simmers inside her. And then she meets Eric, a digital archivist with a family in New Jersey, including an autopsist wife who has agreed to an open marriage—with rules. As if navigating the constantly shifting landscapes of contemporary sexual manners and racial politics weren’t hard enough, Edie finds herself unemployed and invited into Eric’s home—though not by Eric. She becomes a hesitant ally to his wife and a de facto role model to his adopted daughter. Edie may be the only Black woman young Akila knows. Irresistibly unruly and strikingly beautiful, razor-sharp and slyly comic, sexually charged and utterly absorbing, Raven Leilani’s Luster is a portrait of a young woman trying to make sense of her life—her hunger, her anger—in a tumultuous era. It is also a haunting, aching description of how hard it is to believe in your own talent, and the unexpected influences that bring us into ourselves along the way.

Luster

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Sharp, comic, disruptive, tender, Raven Leilani's debut novel, Luster, sees a young black woman fall into art and someone else's open marriage Edie is stumbling her way through her twenties—sharing a subpar apartment in Bushwick, clocking in and out of her admin job, making a series of inappropriate sexual choices. She's also, secretly, haltingly figuring her way into life as an artist. And then she meets Eric, a digital archivist with a family in New Jersey, including an autopsist wife who has agreed to an open marriage—with rules. As if navigating the constantly shifting landscapes of contemporary sexual manners and racial politics weren't hard enough, Edie finds herself unemployed and falling into Eric's family life, his home. She becomes hesitant friend to his wife and a de facto role model to his adopted daughter. Edie is the only black woman young Akila may know. Razor sharp, darkly comic, sexually charged, socially disruptive, Luster is a portrait of a young woman trying to make her sense of her life in a tumultuous era. It is also a haunting, aching description of how hard it is to believe in your own talent and the unexpected influences that bring us into ourselves along the way.

Emma Cline

#fiction #novel #debut #literaryfiction #cult #booktok #bestseller #emmacline #historicalfiction 

THE INSTANT BESTSELLER • An indelible portrait of girls, the women they become, and that moment in life when everything can go horribly wrong NAMED ONE OF THE BEST BOOKS OF THE YEAR BY The Washington Post • NPR • The Guardian • Entertainment Weekly • San Francisco Chronicle • Financial Times • Esquire • Newsweek • Vogue • Glamour • People • The Huffington Post • Elle • Harper’s Bazaar • Time Out • BookPage • Publishers Weekly • Slate Northern California, during the violent end of the 1960s. At the start of summer, a lonely and thoughtful teenager, Evie Boyd, sees a group of girls in the park, and is immediately caught by their freedom, their careless dress, their dangerous aura of abandon. Soon, Evie is in thrall to Suzanne, a mesmerizing older girl, and is drawn into the circle of a soon-to-be infamous cult and the man who is its charismatic leader. Hidden in the hills, their sprawling ranch is eerie and run down, but to Evie, it is exotic, thrilling, charged—a place where she feels desperate to be accepted. As she spends more time away from her mother and the rhythms of her daily life, and as her obsession with Suzanne intensifies, Evie does not realize she is coming closer and closer to unthinkable violence. Finalist for the Los Angeles Times Book Prize • Finalist for the National Book Critics Circle John Leonard Award • Shortlisted for The Center for Fiction First Novel Prize • The New York Times Book Review Editors’ Choice • Emma Cline—One of Granta’s Best of Young American Novelists Praise for The Girls “Spellbinding . . . a seductive and arresting coming-of-age story.”—The New York Times Book Review “Extraordinary . . . Debut novels like this are rare, indeed.”—The Washington Post “Hypnotic.”—The Wall Street Journal “Gorgeous.”—Los Angeles Times “Savage.”—The Guardian “Astonishing.”—The Boston Globe “Superbly written.”—James Wood, The New Yorker “Intensely consuming.”—Richard Ford “A spectacular achievement.”—Lucy Atkins, The Times “Thrilling.”—Jennifer Egan “Compelling and startling.”—The Economist

The Girls

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Kiley Reid

PangoBooks readers have mixed opinions about this contemporary book. Many praise the writing style, character development, and handling of complex themes like racism and inequality, highlighting its engaging and thought-provoking nature. However, some readers struggled with the pacing, finding it inconsistent and challenging to stay engaged. While a few found it compelling and a page-turner, others felt disconnected from the narrative and characters. Overall, appreciation for the book's quality is evident, but it may not resonate with everyone.

First edition, first printing. G. P. Putnam’s Sons, 2019. 

Hardcover (1 to 2 lbs)

A Best Book of the Year: The Washington Post • Chicago Tribune • NPR • Vogue • Elle • Real Simple • InStyle • Good Housekeeping • Parade • Slate • Vox • Kirkus Reviews • Library Journal • BookPage Longlisted for the 2020 Booker Prize An Instant New York Times Bestseller A Reese's Book Club Pick "The most provocative page-turner of the year." --Entertainment Weekly "I urge you to read Such a Fun Age." --NPR A striking and surprising debut novel from an exhilarating new voice, Such a Fun Age is a page-turning and big-hearted story about race and privilege, set around a young black babysitter, her well-intentioned employer, and a surprising connection that threatens to undo them both. Alix Chamberlain is a woman who gets what she wants and has made a living, with her confidence-driven brand, showing other women how to do the same. So she is shocked when her babysitter, Emira Tucker, is confronted while watching the Chamberlains' toddler one night, walking the aisles of their local high-end supermarket. The store's security guard, seeing a young black woman out late with a white child, accuses Emira of kidnapping two-year-old Briar. A small crowd gathers, a bystander films everything, and Emira is furious and humiliated. Alix resolves to make things right. But Emira herself is aimless, broke, and wary of Alix's desire to help. At twenty-five, she is about to lose her health insurance and has no idea what to do with her life. When the video of Emira unearths someone from Alix's past, both women find themselves on a crash course that will upend everything they think they know about themselves, and each other. With empathy and piercing social commentary, Such a Fun Age explores the stickiness of transactional relationships, what it means to make someone "family," and the complicated reality of being a grown up. It is a searing debut for our times.

Such a Fun Age

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Kate Zambreno

With the fierce emotional and intellectual power of such classics as Jean Rhys's Good Morning, Midnight, Sylvia Plath's The Bell Jar, and Clarice Lispector's The Hour of the Star, Kate Zambreno's novel Green Girl is a provocative, sharply etched portrait of a young woman navigating the spectrum between anomie and epiphany. First published in 2011 in a small press edition, Green Girl was named one of the best books of the year by critics including Dennis Cooper and Roxane Gay. In Bookforum, James Greer called it "ambitious in a way few works of fiction are." This summer it is being republished in an all-new Harper Perennial trade paperback, significantly revised by the author, and including an extensive P.S. section including never before published outtakes, an interview with the author, and a new essay by Zambreno. Zambreno's heroine, Ruth, is a young American in London, kin to Jean Seberg gamines and contemporary celebutantes, by day spritzing perfume at the department store she calls Horrids, by night trying desperately to navigate a world colored by the unwanted gaze of others and the uncertainty of her own self-regard. Ruth, the green girl, joins the canon of young people existing in that important, frightening, and exhilarating period of drift and anxiety between youth and adulthood, and her story is told through the eyes of one of the most surprising and unforgettable narrators in recent fiction—a voice at once distanced and maternal, indulgent yet blackly funny. And the result is a piercing yet humane meditation on alienation, consumerism, the city, self-awareness, and desire, by a novelist who has been compared with Jean Rhys, Virginia Woolf, and Elfriede Jelinek.

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