Showing results by publisher "Fourth Estate" in Friendship

Chiamaka is a Nigerian travel writer living in America. Alone in the midst of the pandemic, she recalls her past lovers and grapples with her choices and regrets. Zikora, her best friend, is a lawyer who has been successful at everything until she must turn to the person she thought she needed least. Omelogor, Chiamaka’s bold, outspoken cousin, is a financial powerhouse in Nigeria who begins to question how well she knows herself. And Kadiatou, Chiamaka’s housekeeper, is proudly raising her daughter in America – but faces an unthinkable hardship that threatens all she has worked to achieve.

The games and rituals performed by Katherine Heiny’s characters range from mischievous to tender. In ‘Bridesmaid, Revisited,’ Marilee, suffering from a laundry and life crisis, wears a massive bridesmaid’s dress to work. In ‘Twist and Shout,’ Ericka’s elderly father mistakes his four-thousand-dollar hearing aid for a cashew and eats it. In ‘Turn Back, Turn Back,’ a bedtime storxy coupled with a receipt for a Starbucks babyccino reveal a struggling actor’s deception. And in ‘561,’ Charlene pays the true price of infidelity and is forced to help her husband’s ex-wife move out of the family home.

Sweden, late summer of 2011. Self-taught astrophysicist Petra has calculated that the atmosphere will collapse on the 21st of September that year, around 21.20 to be more precise, bringing about the end of times. Armed with this terrible knowledge, Petra meets Johan, a doomsday prophet, and Agnes, a widow of 75 who has made bank living a double life on social media as a young influencer. Together, the trio race through Europe as they plan to make the most out of the time they have left, in more ways than one. But of course, things rarely go to plan, even the end of the world.

Jane easily falls in love with Duncan: he's charming, good-natured and handsome. He has also slept with nearly every woman in Boyne City, Michigan. Jane sees Duncan's old girlfriends everywhere - at restaurants, at the grocery store, even three towns away. While she may be able to come to terms with dating the world's most prolific seducer of women, she wishes she didn't have to share him quite so widely.

June, 1878. The body of a boy is pulled from the depths of the River Thames, suspected to be the beloved missing child of the widely admired Liberal MP Ralph Gethin. Four months earlier. Harriet is a young maid newly employed at Finton Hall. Fleeing the drudgery of an unwanted engagement in the small village where she grew up, Harriet is entranced by the grand country hall; she is entranced too by her glamorous mistress Clara Gethin, whose unearthly singing voice floats through the house. But Clara, though captivating, is erratic.

Maggie’s marriage has ended just 608 days after it started, but she’s fine—she’s doing really good, actually. Sure, she’s alone for the first time in her life, can’t afford her rent and her obscure PhD is going nowhere...but at the age of twenty-nine, Maggie is determined to embrace her new status as a Surprisingly Young Divorcée™. Soon she’s taking up ‘sadness hobbies’ and getting back out there, sex-wise, oversharing in the group chat and drinking with her high-intensity new divorced friend Amy.

Fabienne is dead. Her childhood best friend, Agnès, receives the news in America, far from the French countryside where the two girls were raised—the place that Fabienne helped Agnès escape ten years ago. Now, Agnès is free to tell her story. As children in a backwater town, they’d built a private world, invisible to everyone but themselves—until Fabienne hatched the plan that would change everything, launching Agnès on an epic trajectory through fame, fortune and terrible loss.

On an island off Ireland’s west coast strange things are afoot: two teenage boys set fires while their worlds fall apart, a couple drive out to the hills in a last-ditch effort to save their marriage, a widow seeks a stranger’s help to bury her grief and a horse crashes a house party. Adrift in the treacherous waters of small-town boredom, the residents reach out with love and cruelty, desperation and hope, in their pursuit of connection.

Emily should be happy. She has a nice husband (even if they rarely speak to each other, let alone sleep in the same bed), two little boys she loves (even if a full night’s sleep is a distant memory)—and now, a brand-new house in which they can live out all of the bourgeois fantasies she knows she should be ashamed of. But still she aches for something more. Enter Alathea and Elliott, their new neighbours, and also parents of two young boys. Alathea is intimidatingly confident and beautiful, but also disarmingly open and friendly.

When a young couple accidentally comes into possession of a playful kitten, their daily routine (and cramped apartment) is turned upside down. Soon they find their existence forever altered. Charting the couple’s ever-evolving relationship with cats – some they live with, others who exist only in their imagination – Invisible Kitties is a meditation on the quiet moments of everyday life and a celebration of cats in all their many forms.

When a young man arrives in Cambridge as a first-year student, he finds himself an outsider. There’s the punting and the politics, the wine and the waistcoats, all seemingly familiar to everyone but him. Then he falls under the spell of Bryn Cavendish. A notorious party boy and skilled magician, Bryn is magnetic. To be in his circle is to revel in clouds of ecstasy, untouched by the rules. To be exiled from it is to haunt the peripheries of campus life like a ghost.

Eley Williams returns with a subversive and essential collection of short stories exploring the nature of relationships both intimate and transient – from the easy gamesmanship of contagious yawns to the horror of a smile fixed for just a second too long. Whether jostling for attention or ducking to evade it, her characters seek connections not only with each other but also to versions of themselves.

Dylan Read, the legendary country pop star, has spent fifteen years learning to craft the perfect good girl image. But Dylan is privately haunted by the loss of her best friend Kelsey, who went missing the year before Dylan’s meteoric rise to fame. When Kelsey’s body is found at the bottom of a New England lake where they grew up, Dylan is drawn back to her hometown where she must revisit their ill-fated teenage friendship and reckon with secrets that have stayed hidden for decades…

This debut collection movingly explores how women and girls are looked at, look at one another and look at themselves, and how living as an object can shape their passions, fears and joys. With a clear eye and dark humour, Danielle Pender considers sex, parenting, grief and class as lenses for the ways in which the world watches women—and how women are always watching back.

In August, eight friends gather at a house in the Cambridgeshire countryside for a week-long artists retreat. There is painting by the pool or writing in the shady corners of the garden and inside the spectacular 18th-century home. In the evenings, there are communal drinks, dinner outdoors, midnight swimming, games. But someone is playing a game the others don't understand, meddling with their work and appearing to lurk on the edges of the retreat. As tensions rise over the seven days, desire and deceit rise to the surface and all their lives will change forever.

Sylvie is only happy when she is at therapy. This is because Sylvie is in love with her therapist. She wants to kiss her and roll around on the floor with her. She thinks about her every second they’re not together (roughly 167 hours and 10 minutes per week). She’s aware she has an obsession, but whether it is – as her therapist suggests – a case of extreme ‘erotic transference’, or a lost person’s need to connect, Sylvie isn’t sure.