Richard Price was interviewed in the By the Book column in the New York Times Book Review and by Vulture. THE WHITES was published by Henry Holt on February 17, 2015.

The paperback of Mr. Harris’ book is now ranked #11 on the New York Times,#9 Boston Globe, #5 LA Times, Hudson (Airports) #10, and IndieBound: #6 and is now on flipboard. IT books published the book in paperback December 30, 2014.

Sarah Manguso was profiled in T Magazine, where her forthcoming ONGOINGESS was excerpted. Graywolf publishes the book on March 3, 2015.

Elliot Ackerman was interviewed on NPR for his debut novel GREEN ON BLUE. Scribner published the book February 17, 2015.

Elliot Ackerman was profiled in Vogue, in advance of a personal essay in the March issue. Says Megan O’ Grady, “[Ackerman’s] first novel is a standout both for its setting—a remote Shkin firebase, a kind of twenty-first century Guadalcanal—and for the austere grace of its prose…

Dan Harris’ book, is nicely placed on multiple bestseller lists. Boston Globe: #6, LA Times: #4, SF Chronicle: #15, IndieBound: #6 and New York Times #9. IT books published the book in paperback December 30, 2014.

Imagine‘s Brian Grazer, optioned Baer’s The Perfect Kill: 21 Laws For Assassins. Fox 21 TV Studios president Bert Salke said, “Robert Baer’s book is incredibly timely and compelling.”

Jeffrey Eugenides, MIDDLESEX was named one of the 21st century’s 12 best novels in a poll of critics conducted by the BBC Culture Blog. Farrar Straus & Giroux published the book on September 4, 2002.

Elliot Ackerman’s debut novel GREEN ON BLUE is a Staff Pick by the Paris Review and was reviewed in Harper’s. The Paris Review called it “an impressive act of empathy,” while Harper’s said, “Afghan strikes against U.S. forces were called green-on-blue attacks; these are the only colors in Ackerman’s prose, besides blood.” Scribner will publish the book on February 17, 2015.

Sarah Manguso’s ONGOINGNESS is a Staff Pick by the Paris Review, which said, “A bold, elegant, and honest confrontation of a diarist’s motivations and neuroses. In tight, economical prose, Manguso chronicles the pathology of her obsessive journaling and the constellation of influences—memory, motherhood, age, marriage—that fueled her writing and ultimately rendered her exhaustive recording no longer necessary.