Living alone in New York, Frannie teaches creative writing to a motley bunch of students, and secretly compiles a dictionary of street slang: virginia, n., vagina; snapper, n., vagina; brasole, n., vagina. One evening at a bar, she stumbles upon a man, his face in shadow, a tattoon on his wrist, a woman kneeling between his legs. A week later a detective shows up at her door. The woman's body has been discovered in the park across the street. Soon Frannie is propelled into a sexual liaison that tests the limits of her safety and desires, as she begins a terrifying descent into the dark places that reside deep within her.

Summer, 1855. Sarah Brinton sets out from Rhode Island, leaving an abusive husband and child behind to head west across the country, looking for a refuge where nobody knows her history - or cares to discover it. Sarah's journey ends at a small frontier post in Minnesota Territory, on lands claimed both by white settlers and Native Americans. There she finds herself another husband, a Yale-educated doctor who serves the nearby Sioux reservation, and settles into a new life. Her days on the edge of the prairie are idyllic if tough, as Sarah befriends and works with the Sioux women. But trouble is brewing in the territories. The Sioux tribes are wary of the white settlers and resent the rampant theft of their land. When the tribes take their fate into their own hands - knowing that death will be the only outcome, Sarah's loyalties are split between the Sioux and her fellow white settlers. As the conflict rages, she finds herself lost to both worlds. The first novel in ten years from the author of In the Cut and Miss Aluminium, this is an unforgettable story about freedom and oppression, intimacy and violence, and a woman caught in the crossfire of one of the most seminal and shameful moments in American history.

ONE OF THE SUNDAY TIMES' 100 BEST SUMMER READS OF 2020 'It's hard to beat Susanna Moore's Miss Aluminium' Vogue 'A sharp-edged summery treat' Hadley Freeman 'Unlike any Hollywood memoir you'll have read' Metro At seventeen, Susanna Moore left her home in Hawai'i, with no money, no belongings and no prospects. But in Philadelphia, an unexpected gift of four trunks of beautiful clothes allowed her to assume the first of many disguises. Her journey takes her from New York to Los Angeles where she becomes a model and meets Joan Didion and Audrey Hepburn. She works as a script reader for Warren Beatty and Jack Nicholson, and is given a screen test by Mike Nichols. But beneath Miss Aluminium's glittering fairytale surface lies the story of a girl's insatiable hunger to learn. Moore gives us a sardonic, often humorous portrait of Hollywood in the seventies and of a young woman's hard-won arrival at selfhood.

This long-awaited monograph brings together fifty years of work and demonstrates how the interiors guru has drawn on a global range of influences for his designs as well as his furniture and fabric collections. John Stefanidis established his design practice in Chelsea, London, in 1967, attracting a discerning international clientele with his carefully considered, vibrant, and beautiful transformation of homes worldwide. If there is such a thing as a Stefanidis 'look,' it combines an original use of vibrant color, an eclectic aesthetic, great sensitivity to proportions, and comfort matched with international flair. With interiors that are often distinguished by bespoke elements bronze door pulls, oak shutters, an inlaid table, a pair of simple, oak-topped chests Stefanidis s creations often feature the handiwork of decorative painters and other craftspeople who marbleize woodwork and lay in floor mosaics. This lavishly illustrated survey with images taken for the foremost shelter magazines and unpublished photographs from the designer s archive closely follows Stefanidis s trajectory from his professional start in the late 1960s to his most recent, celebrated projects. Sifting through a vast personal archive, Stefanidis shares exclusive insights into his process, his own rules for decorating, and personal stories of his adventures and friendships with many of the leading lights of the day.

In Paradise of the Pacific, Susanna Moore, the award-winning author of In the Cut and The Life of Objects, pieces together the elusive, dramatic story of Hawai'i - a place of kings and queens, gods and goddesses, missionaries and explorers - a not-so-distant time of abrupt transition, in which an isolated pagan world of human sacrifice and strict taboo, without a currency or a written language, was confronted with the equally ritualised world of capitalism, Western education, and Christian values.

Berlin, 1938. When Beatrice, a young Irish Protestant lace maker, is whisked away from her dreary life to join the household of Felix and Dorthea Metzenburg, she feels like she's landed in the middle of a fairy tale. Art collectors, and friends to the most fascinating men and women of Europe, the Metzenburgs are part of a world where there is more to desire than she ever imagined.
However Germany has launched its campaign of aggression across Europe, and, before long, the conflict reaches the family's threshold. Retreating to their country estate, the Metzenburgs do their best to ignore the encroaching war until the realities of hunger, illness, and Nazi terror begin to threaten their very existence. In searing and emotional detail, "The Life of Objects "illuminates Beatrice's journey from childhood to womanhood, from naivete to wisdom, as a continent collapses into darkness around her.

Calcutta in 1836: an uneasy mix of two worlds-the patient, implacably unchangeable India and the "tableau vivant of English life created of imperialism's desperation. This is where Lady Eleanor, her sister Harriet, and her brother, Henry-the newly appointed Governor-General of the colony-arrive after a harrowing sea journey "from Heaven, across the world, to Hell." But none of them will find India hellish in anticipated ways, and some-including Harriet and, against her better judgment, Eleanor-will find an irresistible and endlessly confounding heaven.
In Lady Eleanor-whose story is based on actual diaries-we have a keenly intelligent and observant narrator. Her descriptions of her profoundly unfamiliar world are vivid and sensual. The stultifying heat, the sensuous relief of the monsoon rains, the aromas and colors of the gardens and marketplaces, the mystifying grace and silence of the Indians themselves all come to rich life on the page. When she, Harriet, Henry, and ten thousand soldiers and servants make a three-year trek to the Punjab from Calcutta under Henry's failing leadership, Eleanor's impressions of the people and landscape are deepened, charged by her own revulsion and exaltation: "My life," she says, "once a fastidious nibble, has turned into an endless disorderly feast."
Harriet, whose passivity conceals a dazed openness to the true India, and Henry, with his frightened adherence to the crumbling ideals of empire, become foils to Eleanor's slow but inexorable seduction.
Historically precise, gorgeously evocative, banked with the heat of unbidden desires, One Last Look is a mesmerizing tale of the complex lure of the exotic and the brazen failure ofimperialism-both political and personal. It is a powerful confirmation of Susanna Moore's remarkable gifts.

"From the Hardcover edition.

Jane Campion's adaptation of Susanna Moore's best-selling, erotic thriller. Franny Avery (Meg Ryan) is a lonely, middle-class English professor living in New York and currently researching a book about language. One evening, whilst drinking in a bar with a student she witnesses an erotic act between a woman and a man with a tattoo on his arm. When a detective, Malloy (Mark Ruffalo), comes to Franny's flat to interview her after a woman's body was discovered in Franny's garden, she realises he was the man in the bar and there is an undeniable sexual chemistry between them. Encouraged by her sister (Jennifer Jason Leigh) Franny embarks on a passionate affair with Malloy and it begins to re-awaken her passion and take over her life. But the killer is still on the loose and amongst the suspects are Franny's ex-boyfriend (Kevin Bacon), who is stalking her, and a student of hers who delivers an essay about a serial killer...

In her ravishing and moving second novel, the bestselling author of In the Cut tells the story of Mamie Clarke, who sets out to lose herself in New York City.

Having only previously known the fragile, magical world of her childhood on the lush Hawaiian island of Kaua’i, Mamie leaves college to visit her sophisticated aunt in New York. With her beautiful and self-destructive younger sister Claire in tow, Mamie must learn to make her way in a world of money, power, sex, and drugs. Moore’s sharp and witty book captures an unforgettable time and place—the Manhattan of the early 80s— and the powerful feelings engendered there.

"Susanna Moore's novel astonished me--one of those brilliant objects that come along only rarely, all light on clear water, and then one realizes the faster currents underneath, the terrible swiftness of sex and time. "
--Joan Didion

In this mesmerizing novel, Susanna Moore displays a naturalist's eye for the landscape of her native Hawaii and an uncanny sensitivity to the despairing love between mothers and daughters. Lily Shields grows up amid the fragrance of night-jasmine and burning sugar cane, and the heady atmosphere of her mother's madness. For if Anna Shields is an island unto herself--fragile, glamorous, and fearfully needy--Lily is the bridge that connects her to reality.

But now Lily is a young woman and a mother herself, self-exiled from Hawaii but still attached to Anna's tragedy. And as she tries to untangle those threads of love and loyalty, Moore gives us a novel of shimmering beauty and sadness. My Old Sweetheart is a small classic, perfectly formed and mysteriously wise.

"Susanna Moore is a gifted and compelling novelist . . .  in possession of her own unique voice."
--The New York Times Book Review

"I can't recall another novel like this about mothers and daughters. . . . Lily's mysterious, half-told tale delighted and touched me."
--Susan Lydon, Village Voice

Like her much-acclaimed previous novels, Susanna Moore's Sleeping Beauties is set in Hawaii, whose shimmering beauty and melancholy traditions are both seductive and dangerously hard to leave. Or so they prove for Clio, who marries a well-known Hollywood actor--providing her with the promise of escape from the entanglements of island life.

Susanna Moore is best known for her critically acclaimed novels complex and compelling works like In the Cut and My Old Sweetheart. Now, Moore's Light Years is a shimmering look at the early life of this cherished novelist. Taking the form of a Commonplace Book, it mixes reminiscences with passages from famous works of literature that were formative in her younger years. Born in Hawai'i at a time when the islands were separated from the U.S. mainland by five days' ship travel, Moore was raised in a secluded paradise of water, light, and color. As a child she spent endless days holed up with a bundle of books while the sound of the ocean and the calls of her brothers and sister drifted toward her through the palm grove. All around her, Moore saw flashes of the ocean described in those pages: a force of kaleidoscopic beauty and romantic possibility, but with an undercurrent of unfathomable darkness. In Light Years: A Girlhood in Hawai'i, she weaves reminiscences of her childhood with some of her favorite pieces of literature excerpts from Robinson Crusoe, Moby-Dick, Treasure Island, Kon-Tiki, To the Lighthouse, and many others.