India Allwood grew up wanting to be an actor. Armed with a stack of index cards (for research/line memorization/make-shift confetti), she goes from awkward sixteen-year-old to Broadway ingenue to TV superhero. Her new movie is a prestige picture about adoption, but its spin is the same old tired story of tragedy. India is an adoptive mom in real life though. She wants everyone to know there’s more to her family than pain and regret. So she does something you should never do—she tells a journalist the truth: it’s a bad movie.

In 1924, four-year-old Cecily Larson’s mother reluctantly drops her off at an orphanage in Chicago, promising to be back once she’s made enough money to support both Cecily and herself. But she never returns, and shortly after high-spirited Cecily turns seven, she is sold to a traveling circus to perform as the “little sister” to glamorous bareback rider Isabelle DuMonde. With Isabelle and the rest of the circus, Cecily finally feels she’s found the family she craves.

Brian’s wife, Lily, disappeared from his life without a trace six years, eleven months, one week, and two days ago, but Brian never lost hope. Since her disappearance their once beloved English pub—and Brian’s livelihood—has been crumbling piece by piece. As the anniversary of her absence approaches, Brian desperately needs a sign. One doom-scroll on his business’s reviews later, he finds it: an active TripAdvisor account for PinkMoonLily1972 that he knows in his heart is his Lily.

The most thrilling work yet from the best-selling, prize-winning author of The Newlyweds and Lost and Wanted, a stunning new novel set in French Polynesia and New York City about three characters who undergo massive transformations over the course of a single year.

The best-known secret in the city, Jane is an underground health clinic composed entirely of women helping women, empowering them to embrace their futures by offering reproductive counseling and safe, illegal abortions. Veronica, Jane’s founder, prides herself on the services she has provided to thousands of women, yet the price of others’ freedom is that she leads a double life. When she’s not at Jane, Veronica plays the role of a conventional housewife—a juggling act that becomes even more difficult during her own high-risk pregnancy.