Random House is proud to present our 2013 Pulitzer Prize winners.

Fredrik Logevall’s EMBERS OF WAR: The Fall of an Empire and the Making of America’s Vietnam (history) delves deep into the historical record to provide hard answers to the unanswered questions surrounding the demise of one Western power in Vietnam and the arrival of another. Click here to read an excerpt.

THE ORPHAN MASTER’S SON by Adam Johnson (fiction) is an exquisitely crafted novel that carries the reader on an adventuresome journey into the depths of totalitarian North Korea and into the most intimate spaces of the human heart. Click here to read an excerpt.

Knopf author Sharon Olds won the Pulitzer Prize for poetry for STAG’S LEAP, an unflinching collection of poems on the author’s divorce that examines love, sorrow, and the limits of self-knowledge. Her unsparing approach to both pain and love makes this one of the finest and most powerful books of poetry. For more information visit the author’s website.

Finally, we are also proud to present THE BLACK COUNT by Tom Reiss (biography). This is the true and remarkable story of the real Count of Monte Cristo, General Alex Dumas. His bold exploits were captured by his son, Alexander Dumas, in famous 19th century novels. For more information and updates visit Tom’s website.

Please join us in congratulating these authors on their well-deserved Pulitzers! Congratulations!

The full list of winners and finalists can be found here.

Great news, book clubbers! We have signed copies of one of our favorite book club picks Big Stone Gap by New York Times bestselling author Adriana Trigiani. If you haven’t read her Big Stone Gap novels yet, then what are you waiting for?? This is your chance to start!

“As comforting as a mug of chamomile tea on a rainy Sunday.”
— The New York Times Book Review

Nestled in the Blue Ridge Mountains of Virginia, the tiny town of Big Stone Gap is home to some of the most charming eccentrics in the state. Ave Maria Mulligan is the town’s self-proclaimed spinster, a thirty-five year old pharmacist with a “mountain girl’s body and a flat behind.” She lives an amiable life with good friends and lots of hobbies until the fateful day in 1978 when she suddenly discovers that she’s not who she always thought she was. Before she can blink, Ave’s fielding marriage proposals, fighting off greedy family members, organizing a celebration for visiting celebrities, and planning the trip of a lifetime—a trip that could change her view of the world and her own place in it forever. Brimming with humor and wise notions of small-town life, Big Stone Gap is a gem of a book with a giant heart. . . .

“Delightfully quirky . . . chock-full of engaging, oddball characters and unexpected plot twists, this Gap is meant to be crossed.”
— People (Book of the Week)

Join the conversation: Find Adriana on Facebook and follow her on Twitter. Want more information? Check out Adriana’s website.

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Book clubs and readers are raving about The Hope Factory by debut novelist Lavanya Sankaran:

“I will definitely recommend it to my book club.” -Wanda T.

“The Hope Factory contains everything on my literary wish list.” -GoodReads

With humor, intelligence, and masterly prose, Lavanya Sankaran’s debut novel brilliantly captures the vitality and danger of a newly industrialized city and how it shapes the dreams and aspirations of two very different families.

Anand is a Bangalore success story: successful, well married, rich. At least, that’s how he appears. But if his little factory is to grow, he needs land and money, and, in the New India, neither of these is easy to find.

Kamala, Anand’s family’s maid, lives perilously close to the edge of disaster. She and her clever teenage son have almost nothing, and their small hopes for self-betterment depend on the contentment of Anand’s wife: a woman to whom whims come easily.

But Kamala’s son keeps bad company, and Anand’s marriage is in trouble. The murky world where crime and land and politics meet is a dangerous place for a good man, particularly one on whom the well-being of so many depends.

Rich with irony and compassion, Lavanya Sankaran’s The Hope Factory affirms her gifts as a born storyteller with remarkable prowess, originality, and wisdom.

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Happy on sale day to Anna Quindlen. Her candid memoir LOTS OF CANDLES, PLENTY OF CAKE is now available in paperback. Be sure to pick up a copy for exclusive Random House Reader’s Circle material including the full conversation between Anna Quindlen and Meryl Streep and discussion questions for you and your book club.

Join the conversation with Anna on Facebook!

A Conversation Between Meryl Streep and Anna Quindlen

Meryl Streep and Anna Quindlen have been friends for many years. In 1998 Meryl was nominated for an Oscar for her portrayal of Kate Gulden in the film adaptation of Anna’s novel One True Thing. In 2011 Meryl was honored by the Kennedy Center and Anna wrote the program tribute. They sat down for a lunch of pasta and salad at Anna’s home in New York City. The following is an edited version of their conversation on November 27, 2012.

Meryl Streep: What do you say to people who say, “Anna’s vision of aging is too relentlessly upbeat”? This is related to my conversation with my older friends the other day, who are really much older than we are. How do you respond to the ones who go, “Well, it’s too rosy; Anna puts a happy spin on everything.” The reason I’m asking you this question is that I think, even in the direst circumstances, you have a choice of how to look at it. In the book, you do circle certain very profound and cavernous subjects—dying—but you don’t go deep into the spelunking of it.

Anna Quindlen: I think I made an attempt to speak to some of those deeper issues in the last two chapters of the book. But I consciously decided to look at life not from the perspective of the end of it but from the near-to-the-end of it. From the beginning of the book I’m clear: “I’m sixty, and sixty is somewhere different than it used to be.” I mean, fifty years ago, sixty was more or less the end. And now, it’s the beginning of a different stage of life. You know from your experience with your own parents—eighty-five, ninety, it ain’t necessarily pretty. But that’s not exactly what I wanted to tackle. I totally accept when people say I have a very optimistic take on things. I always have had; I probably always will have. And I do think I have a very different attitude about getting older, based on being the daughter of a woman who never got to get old. I think there’s something profound that watching someone you love die young does to you, and if you have half a brain, one of the things it does to you is to say—

MS: Grab life.

AQ: Yes. Wake up, even in the darkest days, saying, “Boy, is this better than the alternative.” There’s this wonderful quote from Carolyn Heilbrun in the book where she says something like, “Since we did not wish to die, surely we must have wished to grow old.” And sometimes our antipathy toward aging seems to me to deny the alternative.

MS: When I read what you write, I keep thinking, Oh, here’s somebody who’s writing what I think. And she’s doing the work for me. It’s sort of, I think, why people undervalue in some ways what women write. Because they speak not just for themselves, but they speak for the rest of us who can’t say these things. You’re speaking something true. And that made me think about the point in the book when Quin says: “Well, Mom, your subject was motherhood.” And that propels somebody to think in a different way, too. It just does. Having children is an optimistic act.

AQ: Absolutely. But I also think that for us as women—women growing older—having children can affect how we
see ourselves. Especially having female children. I may be outing you here, but I mention in the book that I have a very well-known friend who says that the way to make herself invisible is to walk down the street with her daughters, who are young and beautiful—and you and I both know who that is.

MS: My friend Jane called me: “Anna wrote about you!”

AQ: So having those daughters, who are young while we’re getting older, takes us in one of two directions. Sometimes it takes you toward resentment: “I am not that anymore.” Sort of a grasping resentment that leads some women to dress much younger than they should.

MS: Forgive me, but I always thought—and you wrote this, so we agree—but I think that’s the problem of girls who grew up and their card was “pretty.” So when “pretty” goes away, that’s the central tragedy, and that is the thing that rankles with their own daughters. When the pretty goes away just as it’s emerging in the daughters.

AQ: That’s true, that’s true. But I think if you process life as you’ve been living it, which is really a hat trick if you manage to do it, one of the things you see with your girls is that they’re going through the stuff that you went through in your twenties that you never want to go through again. All that stuff that you can see clearly now, so that you think, Oh my God, I can’t believe I wasted a nanosecond of my precious life thinking, Does my hair look okay? and, Is my stomach flat enough? And of course when they’re twenty-three or twenty-four, their hair looks great and their stomachs are flat enough! But I do think having kids gives you a kind of perspective on aging that’s different from that of my friends who don’t have kids.

MS: I do, too. And that’s maybe the group you’re not speaking to. Do you know what I mean? That’s hard. People look to you. They look to you, as sort of an emblematic figure of our generation, to speak for all of us. But you only know what you know.

AQ: You can’t be all things to all people.

MS: But do you feel the burden of that? Do you feel that clamoring? Because it exists from people that—what’s the word? See, I’m not a writer—but even the women for whom you’re not speaking, who have not shared your experiences, want you to speak for them. Because, just because. You’re one of the few who is willing to stand up. You’re willing to stand up and say stuff about living, and what it costs, and what you pay down, and what you don’t ever get back. You know, all that stuff. You’re willing to talk about it. And that’s just a really brave thing. It is.

“One of the best books I’ve read all year.”—Barbara O’Neal, author of The Garden of Happy Endings

“What do you think happened to your husband, Mrs. Keller?”

The Sunday morning starts like any other, aside from the slight hangover. Dani Keller wakes up on her Seattle houseboat, a headache building behind her eyes from the wine she drank at a party the night before. But on this particular Sunday morning, she’s surprised to see that her husband, Ian, is not home. As the hours pass, Dani fills her day with small things. But still, Ian does not return. Irritation shifts to worry, worry slides almost imperceptibly into panic. And then, like a relentless blackness, the terrible realization hits Dani: He’s gone.

As the police work methodically through all the logical explanations—he’s hurt, he’s run off, he’s been killed—Dani searches frantically for a clue as to whether Ian is in fact dead or alive. And, slowly, she unpacks their relationship, holding each moment up to the light: from its intense, adulterous beginning, to the grandeur of their new love, to the difficulties of forever. She examines all the sins she can—and cannot—remember. As the days pass, Dani will plumb the depths of her conscience, turning over and revealing the darkest of her secrets in order to discover the hard truth—about herself, her husband, and their lives together.

Join the conversation! Follow Deb Caletti on Twitter.

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