The Traitor:
by Stephen Coonts
Published 2006 by St. Martin's Press

Hardcover, English. ISBN: 031232359X

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Jacket Notes:

Tommy Carmellini, hero of Liars & Thieves, sets aim on a deadly international conspiracry in this lastest offering from bestselling suspense master Stephen Coonts. The death of a French intelligence agent on an Air France flight to Amman, Jordan, is the trigger that launches Tommy's latest adventure. Within the European union, the national espionage agencies are fiercely competing for supremacy against each other- and against the CIA. When the Americans discover that the director of the French spy agency has sec ret investments in the Bank of Plaestine, alarm bells go off. To investigave the Americans send Jake Grafton.

REVIEW: Publisher's Weekly 05/15/2006

In bestseller Coonts's assured new international thriller, Tommy Carmellini, the sardonic, laid-back CIA agent who became a star in 2004'sLiars & Thieves , gets a shot at the big time in his second featured outing when he's asked to drop his routine work and help find out why the director of French intelligence is making large, secret investments in the Bank of Palestine. Tommy wonders if he's the right man for the job; his own espionage experience in France is limited to being "assistant passport officer at the embassy." When his controller tells him that the new head of European Ops asked for Tommy by name, it turns out to be the unretired Jake Grafton (the longtime star of his own Coonts series), described by Carmellini as "the toughest son of a bitch wearing shoe leather." With support from Grafton; an enigmatic, seductive CIA agent, Sarah Houston; and a nifty little electronic weapon that Coonts says is really being tested, Tommy zeroes in on the high-level traitor who could do him-and the world-a lot of damage.(July)

The Stolen Child:
by Keith Donohue
Published 2006 by Nan A. Talese

Hardcover, English. ISBN: 0385516169

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Jacket Notes:

THE STOLEN CHILD is the story of Henry Day, a seven-year-old kidnapped by a strange group living in the dark forest near his home. He is stolen by changelings--ageless beings whose secret community is threatened by encroaching modern life. They give Henry a new name, Aniday, and the gift of agelessness--now and forever, he will be seven years old. In keeping with tradition, the group has left another child in Henry's place. This changeling boy, who has morphed himself into Henry's duplicate, must adjust to a completely new way of life and hide his true identity from the Day family. But he can't hide his extraordinary talent for the piano (a skill the real Henry never displayed), and his near-perfect performances prompt his father to suspect that the son he has raised is an imposter. As he grows older the new Henry Day becomes haunted by vague but persistent memories of life in another time and place, of a German piano teacher and his prodigy. Both Henry and Aniday search obsessively for who they were before they changed places in the world.

Narrated in the alternating voices of Henry Day and his double, THE STOLEN CHILD is a classic tale of the search for identity and leaving childhood. With just the right mix of fantasy and realism, Keith Donohue creates a literary fable of remarkable depth and strange delights. The result is a bedtime story for adults, which will appeal to readers charmed and captivated by such recent bestsellers as "Jonathan Strange & Mr. Norrell, and" The Confessions of Max Tivoli and by the classics of Tolkien and J. M. Barrie.

REVIEW: Publisher's Weekly 01/23/2006

Folk legends of the changeling serve as a touchstone for Donohue's haunting debut, set vaguely in the American northeast, about the maturation of a young man troubled by questions of identity. At age seven, Henry Day is kidnapped by hobgoblins and replaced by a look-alike impostor. In alternating chapters, each Henry relates the tale of how he adjusts to his new situation. Human Henry learns to run with his hobgoblin pack, who never age but rarely seem more fey than a gang of runaway teens. Hobgoblin Henry develops his uncanny talent for mimicry into a music career and settles into an otherwise unremarkable human life. Neither Henry feels entirely comfortable with his existence, and the pathos of their losses influences all of their relationships and experiences. Inevitably, their struggles to retrieve their increasingly forgotten pasts put them on paths that intersect decades later. Donohue keeps the fantasy as understated as the emotions of his characters, while they work through their respective growing pains. The result is an impressive novel of outsiders whose feelings of alienation are more natural than supernatural.(May)

Veronica
by Mary Gaitskill
Published 2005 by Pantheon Books

Hardcover, English. ISBN: 0375421459

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Jacket Notes:

The long-awaited novel from the acclaimed author of "Bad Behavior" is a dark fairy tale set in Paris and Manhattan in the 1980s--a story about beauty, narcissism and appetite, transience, aging and mortality.

REVIEW: Publisher's Weekly 08/01/2005

[Signature]Reviewed by Heidi JulavitsImagine that Edie Sedgwick penned a roman clef in her 50s, and that she discovered, in her ugly, diseased decrepitude, that celebrities and downtown loft spaces and skuzzy rich hangers-on were the nadir of existence. Imagine that she managed, in her own post-trauma-addled way, to convey a beautiful-ugly portrait of this life, and the life that followed that life, a life of cleaning offices and riding public buses, in a wincingly acute manner that allowed you not only to forgive the destructiveness in which her youthful self luxuriated but view it as a real human tragedy. This is the accomplishment of Veronica, or rather of Alison, who is the narrator and soul-wearied subject of Mary Gaitskill's second novel. Alison, who lived an Edie-ish life, has a face that is "broken, with age and pain coming through the cracks." Now in her 50s, she cleans her friend's toilet for money, she's sick with hepatitis and her "focus sometimes slips and goes funny"--an apt description of her story's pleasing disorientation, a story which amounts to a nonchronological recounting of her "bright and scalding" past as she hikes feverishly up a hill. Alison's narration begins as a bracing account of her "gray present" from which she recalls her childhood and her years as a model in Paris and New York and the death of her friend Veronica from AIDS. A former inhabitant of a face-deep world, she cannot describe a person without first reducing his or her face to a single violent visual stroke ("his face was like lava turned into cold rock"). These descriptions--or dismissals--fail, on purpose, to render any character a visual flesh-and-blood presence; instead, Alison's way of seeing renders people distressingly naked. Of course no seasoned reader of Mary Gaitskill would expect a preeningly tragic book about the emotional pitfalls of modeling, and so where there might be an airbrushed homage to failing beauty or weepy nostalgia over formerly elastic body parts there are instead turds, sphincters, scars, wounds and other celebrated repugnancies. Gaitskill's style is gorgeously caustic and penetrating with a homing instinct toward the harrowing; her ability to capture abstract feelings and sensations with a precise and unexpected metaphor is a squirmy delight to encounter in such abundance. As the book progresses, Alison's gray present becomes subsumed by the scalding brightness of her past, until her sick and ugly self is all but obliterated from the pages; aside from the occasional reminder that Alison is climbing a hill, her sage hindsight collapses into the immediacy of her recollections, and Alison's shallow bohemian fixations again become her only story. The result is that her blunt honesty feels face, rather than soul, deep. It is hard to convey the tragedy of a girl in the prime of her beauty who savors the ugly way she experiences herself; it is more wrenching, and more in keeping with the gimlet-eyed clarity of the book's earlier pages, to convey the tragedy of the truly ugly woman, who once, despite her demurrals and insecurities, knew beauty. (On sale Oct. 11)Heidi Julavits is the author of two novels, The Mineral Palace and The Effect of Living Backwards. She is a founding editor of the Believer.

March
by Geraldine Brooks
Published 2005 by Viking Books

Hardcover, English. ISBN: 0670033359

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Jacket Notes:

From Louisa May Alcott's "Little Women," Brooks has taken the character of the absent father, March, and has added adult resonance to portray the moral complexity of war and a marriage tested by the demands of extreme idealism.

REVIEW: Publisher's Weekly 12/20/2004

Brooks's luminous second novel, after 2001's acclaimed Year of Wonders, imagines the Civil War experiences of Mr. March, the absent father in Louisa May Alcott's Little Women. An idealistic Concord cleric, March becomes a Union chaplain and later finds himself assigned to be a teacher on a cotton plantation that employs freed slaves, or "contraband." His narrative begins with cheerful letters home, but March gradually reveals to the reader what he does not to his family: the cruelty and racism of Northern and Southern soldiers, the violence and suffering he is powerless to prevent and his reunion with Grace, a beautiful, educated slave whom he met years earlier as a Connecticut peddler to the plantations. In between, we learn of March's earlier life: his whirlwind courtship of quick-tempered Marmee, his friendship with Emerson and Thoreau and the surprising cause of his family's genteel poverty. When a Confederate attack on the contraband farm lands March in a Washington hospital, sick with fever and guilt, the first-person narrative switches to Marmee, who describes a different version of the years past and an agonized reaction to the truth she uncovers about her husband's life. Brooks, who based the character of March on Alcott's transcendentalist father, Bronson, relies heavily on primary sources for both the Concord and wartime scenes; her characters speak with a convincing 19th-century formality, yet the narrative is always accessible. Through the shattered dreamer March, the passion and rage of Marmee and a host of achingly human minor characters, Brooks's affecting, beautifully written novel drives home the intimate horrors and ironies of the Civil War and the difficulty of living honestly with the knowledge of human suffering. Agent, Kris Dahl. 10-city author tour. (Mar. 7)

07/01/2005 REVIEW: School Library Journal

Adult/High School -In Brooks's well-researched interpretation of Louisa May Alcott's Little Women , Mr. March also remains a shadowy figure for the girls who wait patiently for his letters. They keep a stiff upper lip, answering his stiff, evasive, flowery letters with cheering accounts of the plays they perform and the charity they provide, hiding their own civilian privations. Readers, however, are treated to the real March, based loosely upon the character of Alcott's own father. March is a clergyman influenced by Thoreau, Emerson, and especially John Brown (to whom he loses a fortune). His high-minded ideals are continually thwarted not only by the culture of the times, but by his own ineptitude as well. A staunch abolitionist, he is amazingly naive about human nature. He joins the Union army and soon becomes attached to a hospital unit. His radical politics are an embarrassment to the less ideological men, and he is appalled by their lack of abolitionist sentiments and their cruelty. When it appears that he has committed a sexual indiscretion with a nurse, a former slave and an old acquaintance, March is sent to a plantation where the recently freed slaves earn wages but continue to experience cruelty and indignities. Here his faith in himself and in his religious and political convictions are tested. Sick and discouraged, he returns to his little women, who have grown strong in his absence. March, on the other hand, has experienced the horrors of war, serious illness, guilt, regret, and utter disillusionment.-Jackie Gropman, Chantilly Regional Library, VA