Mark and Maggie’s annual drive east to visit family has gotten off to a rocky start. By the time they’re on the road, it’s late, a storm is brewing, and they are no longer speaking to one another. Adding to the stress, Maggie – recently mugged at gunpoint – is lately not herself, and Mark is at a loss about what to make of the stranger he calls his wife. Forced to stop for the night at a remote inn, completely without power, Maggie’s paranoia reaches an all-time and terrifying high. But when Mark finds himself threatened in a dark parking lot, it’s Maggie who takes control.

“A bold, wise, magical, and authentic novel about youthful infatuation and its legacy. Hannah Pittard’s beautifully confident prose is sure to make readers look back on their own teenage years with fresh wonder.”
–Vendela Vida, author of The Lovers

Already acclaimed for her short fiction–a McSweeney’s Amanda Davis Highwire Fiction Award winner whose work was selected by Salman Rushdie for inclusion in 2008 Best American Short Stories’ 100 Distinguished Stories–Hannah Pittard proves herself a master of long form fiction as well with her haunting, masterfully crafted debut novel, The Fates Will Find Their Way. A powerful and beautiful literary masterwork reminiscent of The Virgin Suicides, Pittard’s The Fates Will Find Their Way tells the unforgettable story of a teenaged girl gone missing, and the boys she grew up with who find themselves caught in the mysterious wake of her absence for the rest of their lives.

From a writer who “deserves the attention of anyone in search of today’s best fiction”* comes an epic novel-based on true events-of wealth, race, grief, and love, charting one sweltering summer in Atlanta that left no one unchanged (*Washington Post) It’s a humid summer day when the phones begin to ring: disaster has struck. Air France Flight 007, which had been chartered to ferry home more than one hundred of Atlanta’s cultural leaders following a luxurious arts-oriented tour of Europe, crashed shortly after takeoff in Paris. In one fell swoop, most of the city’s wealthiest residents perished. Left behind were children, spouses, lovers, friends, and a city on the cusp of great change: the Civil Rights movement was at its peak, the hedonism of the 60s was at its doorstep. In Hannah Pittard’s dazzling and most ambitious novel yet, she gives us the journeys of those who must now rebuild this place and their lives. Mayor Ivan Allen is tasked with the job of keeping the city moving forward. Nineteen-year-old Piedmont Dobbs, who had been denied admission to an integrated school, senses a moment of opportunity. Robert, a newspaper editor, must decide if he can reconnect with his beloved but estranged wife, Lily, who has learned that her wealthy parents left her penniless. Visible Empire is the story of a single sweltering summer, and of the promise and hope that remains in the wake of crisis. It’s the story of a husband and wife-Robert and Lily-who don’t truly come to understand each other and their love, until their city’s chaos drives them to clarity.

We Are Too Many is an unexpectedly funny, unflinchingly honest, and genre-bending memoir about a marriage-ending affair between award-winning author Hannah Pittard’s husband and her captivating best friend.

In this wryly humorous and innovative look at a marriage gone wrong, Hannah Pittard recalls a decade’s worth of unforgettable conversations, beginning with the one in which she discovers her husband has been having sex with her charismatic best friend, Trish. These time-jumping exchanges are fast-paced, intimate, and often jaw-dropping in their willingness to reveal the vulnerabilities inherent in any friendship or marriage. Blending fact and fiction, sometimes re-creating exchanges with extreme accuracy and sometimes diving headlong into pure speculation, Pittard takes stock not only of her own past and future but also of the larger, more universal experiences they connect with—from the depths of female rage to the heartbreaking ways we inevitably outgrow certain people.

Clever and bold and radically honest to an unthinkable degree, We Are Too Many examines the ugly, unfiltered parts of the female experience, as well as the many (happier) possibilities in starting any life over after a major personal catastrophe.