“A wedding planner left at the altar? Yeah, the irony isn’t lost on Carolina Santos, either. But despite that embarrassing blip from her past, Lina’s offered an opportunity that could change her life. There’s just one hitch… she has to collaborate with the best (make that worst) man from her own failed nuptials.

Marketing expert Max Hartley is determined to make his mark with a coveted hotel client looking to expand its brand. Then he learns he’ll be working with his brother’s whip-smart, stunning—absolutely off-limits—ex-fiancée. And she loathes him.

If they can nail their presentation without killing each other, they’ll both come out ahead. Except Max has been public enemy number one ever since he encouraged his brother to jilt the bride, and Lina’s ready to dish out a little payback of her own.

Soon Lina and Max discover animosity may not be the only emotion creating sparks between them. Still, this star-crossed couple can never be more than temporary playmates because Lina isn’t interested in falling in love and Max refuses to play runner-up to his brother ever again…”

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“Set in London and alternating between 1926 and 1936, The Glittering Hour is the story of Selena Lennox. Having lost her beloved brother during World War I, Selena understands too well the brevity of life and intends to live every moment to the fullest.

Selena and her lively companions are collectively known as the Bright Young People. To the dismay of Selena’s staid, upper-class family, her world is an unending series of fast cars, beautiful dresses, wild parties, crazy games and the latest dances, all fueled by alcohol and drugs and documented by photographers. Then one night, Selena meets the totally unsuitable Lawrence Weston, a struggling artist from poor beginnings who bears his own grief. Their encounter will eventually open Selena’s eyes and force her to make a choice that will change their lives.

The Glittering Hour is an exceptional novel about choosing how to live amid powerful grief and true love. Iona Grey, author of Letters to the Lost, has written a moving story that makes readers feel bereft to leave Selena and Lawrence behind at the book’s end in the way that only the best novels can do. Grey’s eye for descriptive detail gives a sumptuousness to almost every scene, and the delicious recklessness of 1920s London comes alive on the page. She is also masterful at using flashbacks and letters to slowly tease out the influences and motivations of her characters—and those of an entire postwar generation.

For readers looking for a tremendously entertaining, emotionally charged story, look no further. The Glittering Hour is just the ticket.”

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‘Homebodies are always in pursuit of an ideal: of a dream of quiet, of peaceful evenings in the bath or under blankets, of restorative reflection, of (as our friends across the pond term it) “cosy.” In Cosy: The British Art of Comfort, Laura Weir moves to take back the simple pleasures of a Sunday in one’s pajamas or a long evening walk, especially now that interior designers have savaged the Danish notion of hygge. There’s no need to whitewash your floorboards or purchase a sheepskin rug. After all, decorating all in white inevitably leads to more cleaning, when you could be relaxing under something woolen with a book and a nice piece of cheese instead. Gently dragging us back from the wild-eyed edge of consumerism, Weir reminds us that simply taking the time to cook a meal can be enough. Forget giving this one for Christmas, actually. Give it before. We’ll all need it.”

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“Before reading Marley, I dug out my Bantam Classic paperback of A Christmas Carol by Charles Dickens and reread it. As if I needed such an excuse: It’s one of my favorite books, and Ebenezer Scrooge’s story of greed and selfishness never gets old.

I was equally excited to read Marley, which promised to deliver the untold origin story of Scrooge and his partner Jacob Marley’s sordid business. But whereas Dickens’ novel is ultimately uplifting—our stingy protagonist wholly embraces the lessons learned from ghostly visitations and immediately sets about amending his ways—Marley is anything but. It’s darkly haunting in its own way, but also devilishly fun reading.

There are good reasons for the heavy chains wrapped around Jacob Marley’s ghost when he visits Scrooge that fateful Christmas Eve, and author Jon Clinch spares no detail as he depicts Marley in this prequel as a harsh, uncaring, coldly calculating, deceitful individual, showcasing his malevolent influence on Scrooge. The novel follows the pair from their first meeting at Professor Drabb’s Academy for Boys in 1787—where Marley immediately extorts money from Scrooge—to Marley’s deathbed in 1836. Throughout, Marley’s obsession with money motivates every waking moment of his life. While Scrooge crunches the numbers (or cooks the books, if you will), Marley carries on the nastier businesses of cons, smuggling and slave trading, using various aliases and dummy corporations along the way, even going so far as to keep secrets (and cash) from Scrooge. Marley is, for want of a better phrase, more of a scrooge than Scrooge.

Clinch—who pulled a similarly remarkable feat with his first book, Finn, about the father of Huckleberry Finn—has successfully added a layer of depth and intrigue to Dickens’ beloved characters. Rereading Marley each Christmas may become as much of a tradition as rereading A Christmas Carol.”

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“We all know one film aficionado who remembers bits and bobs about movies long after everyone else has forgotten them. This person can be tricky to shop for, as they’ve seen every movie already and have plenty of opinions about them. Enter Movies (and Other Things) by Shea Serrano, author of The Rap Year Book. Over the course of 30 essays, Serrano dives deep into topics that movie nerds love to debate, with a focus on famous films since the 1980s. Who are the members of the perfect heist movie crew? Who gets it the worst in Kill Bill?

Movies is illustrated by Arturo Torres and, as a whole, feels internet-y in its composition, as it contains charts, listicles, a yearbook and even a script. There’s a distinctly masculine feel to the essays, with only a handful addressing films starring women. Nevertheless, any cinephile will find this a fascinating read—and for everyone else, it’s a fun coffee table book.”

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