Alafair Burke’s “The Wife” asks a worrying question: If you suffer through a traumatic event, do you recover? Or do you just think you have recovered?
A.J. Jacobs confirms the beguiling promise of ancestry-hunting: to construct a narrative for yourself that is more interesting than the one you’ve got.
How do you figure out what comes next after what gave your life meaning is gone?

Philip Schultz’s new collection of poems, though steeped in loss, may well provide you with all you need to rise above pain and despondency.

If there is a barometer for pints of blood loss in books on crime, Kerriann Flanagan Brosky has chosen a wide range of felonious activity — horrifying to mundane. The mercury level is in the middle.
The Star welcomes submissions of essays for its “Guestwords” column of between 700 and 1,200 words. Submissions can be sent for review by email, in text or Word format, to

Pushcart calls itself the “best of the small presses,” but its mission is large, and the big, meaningful questions humanity must ask can be found inside.
BookEnds — a workshop established by Susan Scarf Merrell and Meg Wolitzer of Stony Brook Southampton’s M.F.A. program in creative writing.

“Lioness: Golda Meir and the Nation of Israel” is the monumental result of Francine Klagsbrun's decade-long effort to understand the woman who became prime minister.

Nathan Sanford of Bridgehampton had a significant yet undervalued early influence on issues like universal suffrage, voter apathy, and political patronage.
“Don’t Save Anything” contains a number of James Salter pieces that are indispensable, many of them rescued from boxes stored in places reachable only with a ladder.

A new poem by Philip Schultz in memory of Robert Long

“Deadly Cure” by Lawrence Goldstone, a medical detective story set in Brooklyn in 1899, could have been written about the current opioid crisis.