DISCUSSION GUIDES

“A twisty, fast-paced” (The Sunday Times, London) debut thriller, as electrifying as the #1 New York Times bestseller The Girl on the Train, about impending motherhood, unreliable friendship, and the high price of keeping secrets.

In this “gloriously tangled game of cat and mouse that kept the twists coming until the very last moment” (Ruth Ware, #1 New York Times bestselling author), Helen’s idyllic life—handsome architect husband, gorgeous Victorian house, and cherished baby on the way—begins to change the day she attends her first prenatal class.

There, she meets Rachel, an unpredictable single mother-to-be who doesn’t seem very maternal: she smokes, drinks, and professes little interest in parenthood. Still, Helen is drawn to her. Maybe Rachel just needs a friend. And to be honest, Helen’s a bit lonely herself. At least Rachel is fun to be with. She makes Helen laugh, invites her confidences, and distracts her from her fears.

But her increasingly erratic behavior is unsettling. And Helen’s not the only one who’s noticed. Her friends and family begin to suspect that her strange new friend may be linked to their shared history in unexpected ways. When Rachel threatens to expose a past crime that could destroy all of their lives, it becomes clear that there are more than a few secrets laying beneath the broad-leaved trees and warm lamplight of Greenwich Park.

A Goodreads Top 20 Book of the Last 5 Years
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The “page-turning, exhilarating” (PopSugar) and “heartfelt thriller” (Real Simple) about a woman who thinks she’s found the love of her life—until he disappears.

Before Owen Michaels disappears, he smuggles a note to his beloved wife of one year: Protect her. Despite her confusion and fear, Hannah Hall knows exactly to whom the note refers—Owen’s sixteen-year-old daughter, Bailey. Bailey, who lost her mother tragically as a child. Bailey, who wants absolutely nothing to do with her new stepmother.

As Hannah’s increasingly desperate calls to Owen go unanswered, as the FBI arrests Owen’s boss, as a US marshal and federal agents arrive at her Sausalito home unannounced, Hannah quickly realizes her husband isn’t who he said he was. And that Bailey just may hold the key to figuring out Owen’s true identity—and why he really disappeared.

Hannah and Bailey set out to discover the truth. But as they start putting together the pieces of Owen’s past, they soon realize they’re also building a new future—one neither of them could have anticipated.

With its breakneck pacing, dizzying plot twists, and evocative family drama, The Last Thing He Told Me is a “page-turning, exhilarating, and unforgettable” (PopSugar) suspense novel.

Award-winning memoirist Meg Stafford has an adventurous spirit, and this time she takes us along for the ride. When her daughters venture into terra incognita—one of them meditating in the Himalayas and the other negotiating with the Colombian military—Stafford decides to go too. In the process, she reflects on her own lifetime of wanderlust and what it means for a parent to love and to let go. Generous, insightful, and deeply funny, Stafford is the ideal tour guide for a journey as big as the world and as intimate as the human heart.

The Red Kitchen is the story of Barbara and her mother, who, like many women, surrender to society’s expectation to be one thing while yearning to be another. Both women—in very different ways—come of age, find the loving parts of their mother-daughter relationship, and start living their best lives.

"A "well rounded and entertaining" (New York Times) Hollywood biography about the passionate, turbulent marriage of Laurence Olivier and Vivien Leigh.

An inventive, page-turning crime thriller with "palpable emotional depth" (New York Times Book Review) in which the Red Scare never ended.

It’s 1937. Jane’s on the run. She’s left her pregnant mother with a man she hates and left her father for dead in an irrigation ditch. To survive on her own, Jane remakes herself as a man. Everything’s getting better, until her father turns up on the newspaper’s front page, in a picture that threatens to destroy the life she’s making.

“A vibrant and queer reinvention of F. Scott Fitzgerald's jazz age classic. . . . I was captivated from the first sentence.”—NPR