Frank Szatowski is shocked when his daughter, Maggie, calls him for the first time in three years. He was convinced that their estrangement would become permanent. He’s even more surprised when she invites him to her upcoming wedding in New Hampshire. Frank is ecstatic, and determined to finally make things right.

He arrives to find that the wedding is at a private estate—very secluded, very luxurious, very much out of his league. It seems that Maggie failed to mention that she’s marrying Aidan Gardner, the son of a famous tech billionaire. Feeling desperately out of place, Frank focuses on reconnecting with Maggie and getting to know her new family. But it’s difficult: Aidan is withdrawn and evasive; Maggie doesn’t seem to have time for him; and he finds that the locals are disturbingly hostile to the Gardners. Frank needs to know more about this family his daughter is marrying into, but if he pushes too hard, he could lose Maggie forever.

An edge-of-your-seat thriller that delves deep into the heart of one family, The Last One at the Wedding is a work of brilliant suspense from a true modern master.

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Provence, 1347. Eleanore (Elea) Blanchet is a midwife and budding herbalist with remarkable skills. But as she knows all too well from her late mother’s fate, she must be careful to stay within her station. So, she quietly accepts her role tending to the pregnant women in her home city of Avignon; spending time with her father and beloved twin sister, Margot; and escaping to the surrounding woods to forage for herbs when she can. At the very least, she is determined to preserve the little freedom she does have by staying unwed—unlike Margot, who is about to marry a man with painful connections to their mother’s death.

Then, in a chance encounter, Elea meets Guy de Chauliac, “Guigo,” the enigmatic personal physician to the powerful Pope Clement, who, against all odds, agrees to take her on as his apprentice. Under his tutelage, a whole new world opens to Elea—a world of status, wealth, and fascinating medical cases—but just as she starts to settle into her new position, the much-feared plague hits Europe, making Elea and Guigo's work more urgent than ever. And as if that weren’t enough, the disgraced Queen Joanna of Naples arrives in Avignon to stand trial for her husband’s murder—and she is pregnant and in need of a midwife, a role only Elea can fill.

As the Black Death spreads like wildfire, leaving half the city dead in its wake—and as the queen's childbirth approaches—Elea finds herself battling what seems to be an unwinnable war. All the while, the people of Avignon are becoming more and more desperate for a scapegoat, and a group of religious heretics launch a witch hunt, one that could cost her everything.

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As indigenous scientist and author of Braiding Sweetgrass Robin Wall Kimmerer harvests serviceberries alongside the birds, she considers the ethic of reciprocity that lies at the heart of the gift economy. How, she asks, can we learn from indigenous wisdom and the plant world to reimagine what we value most? Our economy is rooted in scarcity, competition, and the hoarding of resources, and we have surrendered our values to a system that actively harms what we love.

Meanwhile, the serviceberry’s relationship with the natural world is an embodiment of reciprocity, interconnectedness, and gratitude. The tree distributes its wealth—its abundance of sweet, juicy berries—to meet the needs of its natural community. And this distribution insures its own survival. As Kimmerer explains, “Serviceberries show us another model, one based upon reciprocity, where wealth comes from the quality of your relationships, not from the illusion of self-sufficiency.”

Elizabeth Gilbert writes, Robin Wall Kimmerer is “a great teacher, and her words are a hymn of love to the world.” The Serviceberry is an antidote to the broken relationships and misguided goals of our times, and a reminder that “hoarding won’t save us, all flourishing is mutual.”

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It’s a beautiful day in Newport, Rhode Island, when Phoebe Stone arrives at the grand Cornwall Inn wearing a green dress and gold heels, not a bag in sight, alone. She's immediately mistaken by everyone in the lobby for one of the wedding people, but she’s actually the only guest at the Cornwall who isn’t here for the big event. Phoebe is here because she’s dreamed of coming for years—she hoped to shuck oysters and take sunset sails with her husband, only now she’s here without him, at rock bottom, and determined to have one last decadent splurge on herself. Meanwhile, the bride has accounted for every detail and every possible disaster the weekend might yield except for, well, Phoebe and Phoebe's plan—which makes it that much more surprising when the two women can’t stop confiding in each other.

In turns absurdly funny and devastatingly tender, Alison Espach’s The Wedding People is ultimately an incredibly nuanced and resonant look at the winding paths we can take to places we never imagined—and the chance encounters it sometimes takes to reroute us.

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