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Jennifer Egan is the author of the 2011 Pulitzer Prize-winning novel A Visit from the Goon Squad. Published in 2010, the book soared to the top of many publications鈥� Best of 2010 lists, including The New York Times, The Washington Post, Time, Slate, Salon, and People. In addition to being awarded the Pulitzer Prize for fiction, A Visit from the Goon Squad won the National Book Critics Circle award for fiction, the Los Angeles Times Book Prize, and was a finalist for the PEN/Faulkner Award for Fiction, the IMPAC/Dublin Literary Award, and the Irish Book Award. Recently, Goon Squad appeared as one of the New York Times 100 Best Books of the 21st Century.

Her latest best-selling novel, The Candy House, is a 鈥渟ibling novel鈥� to her Pulitzer Prize- and NBCC Award-winning A Visit from the Goon Squad鈥攁n electrifying, deeply moving novel about the quest for authenticity and meaning in a world where memories and identities are no longer private. It was named one of The New York Times Book Review鈥榮 Top 10 books of 2022, and appeared on countless other Best of the Year lists, including Entertainment Weekly, The Economist, Slate, the Philadelphia Inquirer, NPR, and Time Magazine. President Obama also included The Candy House on his 2022 Summer Reading List.

Jennifer Egan鈥檚 previous novel, the noir Manhattan Beach, was a New York Times bestseller that the Boston Globe heralded as 鈥淓gan鈥檚 most remarkable accomplishment yet.鈥� Egan鈥檚 first historical novel, it delves into the underworld of World War II era New York, with the story of a young woman who becomes the first female diver in the Brooklyn Naval Yard, navigating a world populated by gangsters, sailors, bankers, and union men. Manhattan Beach was awarded the 2018 Andrew Carnegie Medal for Excellence in Fiction.

Jennifer Egan is also the author of The Invisible Circus, a novel of the counterculture that became a feature film staring Cameron Diaz; Look at Me, a finalist for the National Book Award in fiction in 2001; Emerald City and Other Stories; and the Gothic thriller The Keep, which was a national bestseller. Her short stories have appeared in The New Yorker, Harper鈥� s, Granta, McSweeney鈥檚, and other magazines. She is a recipient of a Guggenheim Fellowship, a National Endowment for the Arts Fellowship in Fiction, and a Dorothy and Lewis B. Cullman Fellowship at the New York Public Library.

Egan鈥檚 reported journalism has appeared frequently in The New York Times magazine since 1996. Her 2002 cover story on homeless children received the Carroll Kowal Journalism Award, and her article 鈥淭he Bipolar Kid鈥� received a 2009 Outstanding Media Award for Science and Health Reporting from the National Alliance on Mental Illness. Her most recent nonfiction article, a year-long exploration of street homelessness and supportive housing in New York City, appeared in the New Yorker in September, 2023. Jennifer Egan has served as President of PEN America and twice as Artist-in-Residence at the University of Pennsylvania, where she has delivered lectures on many authors, including Anthony Trollope, Edith Wharton, and Chester Himes. (From Penguin Random House Speakers Bureau; Photo Credit: Pieter M. Van Hattem)

Bio

Jennifer Egan is the author of seven books, including the Pulitzer Prize-winning A Visit from the Goon Squad and The Candy House. As engaging as one of her characters, Egan captivates crowds with tales of her early days as a struggling writer, her approach to storytelling, and her ultimate success as one of today's most innovative authors. Her 2017 novel, Manhattan Beach, won the Andrew Carnegie Medal for Excellence in Fiction. She was the president of PEN America. (From Penguin Random House Speakers Bureau; Photo Credit: Pieter M. Van Hattem)

Kerri n脥 Dochartaigh鈥檚 first book, Thin Places, was published in Spring 2022 in the US. It was an Indies Introduce selection for Winter/Spring 2022, an Indie Next selection for April 2022, and A Junior Library Guild selection for Spring 2022. Cacophony of Bone is her second book. She lives on the west coast of Ireland with her family. (From Milkweed Editions; photo credit: Paul McCarthy)

Deborah Landau is the author of Soft Targets (2019), which was awarded the Believer Book Award in 2020; The Uses of the Body (2015); and The Last Usable Hour (2011), both Lannan Literary Selections from Copper Canyon Press, and Orchidelirium (2011), selected by Naomi Shihab Nye for the Robert Dana Anhinga Prize for Poetry. Her other awards include a Jacob K Javits Fellowship from the US Department of Education and a Guggenheim Fellowship.

Landau鈥檚 fifth book of poems, Skeletons (Copper Canyon, 2023) flashes with prismatic effect across the persistent allure of the flesh. In an essay for the Poetry Foundation, Lara Glenum offers a deep analysis of the collection: 鈥淚f Landau is consumed by a prevailing sense of her own mortality, she is also consumed by the ways in which the line between work and play almost invariably blurs for women, particularly when it comes to sex and particularly as they age. Landau mobilizes the female libido as a site of resistance to her own mortality.鈥� While the New York Times Book Review observes, 鈥淟andau鈥檚 earthy, angsty poems 鈥� about sex and mortality and cosmic despair 鈥� are insistently quotable, and more fun than they have any right to be. One opens with a line Emily Dickinson might have written, had she been on Twitter: 鈥楽orry not sorry, said death.'鈥�

About Soft Targets Publishers Weekly says: 鈥淭he fourth book from Landau addresses the anxiety of living among dangers potential and palpable, from terrorism to climate change. As citizens, we are vulnerable to those 鈥榳ho want to slaughter us,鈥� and yet, as the speaker remarks, 鈥業 had a body, unwearied, vital, despite the funeral in everything.鈥� This proves the central tension of the collection: the speaker is conflicted about how we might go about our days and nights鈥攄rinking wine, raising a family鈥攚hen around the world, threat abounds. Poems in loose couplets, tercets, and single-line stanzas contain Landau鈥檚 signature lush, lyrical language (鈥榳ould you like a lunch of me in the soft/ in its long delirium?鈥�) placed in contrast to the immediacy of 鈥楰alashnikov assault rifles,/ submachine guns, ammunition,鈥� which enact the dissonance of pleasure-seeking while the news 鈥榮patulas in on the Twitter feed.鈥� But the very bodies that make us soft targets, Landau suggests, also make us lovers, 鈥榣ustrous from time to time,/ in a garden, in a city, in a wood melodious with pine.鈥� Through the cadence of these poems, which sometimes resemble lullabies in their dreaminess and gorgeous lyricism, Landau captures the ways humans persist, despite our collective anxiety, in our longing for 鈥榮omething tender, something that might bloom.鈥欌��

Her work has appeared in The New Yorker, Boston Review, Freeman鈥檚, The Paris Review, Tin House, Poetry, The Wall Street Journal, and The New York Times, selected for The Best American Poetry, and included in anthologies such as Resistance, Rebellion, Life, Please Excuse This Poem: 100 New Poets for the Next Generation, Not for Mothers Only, The Best American Erotic Poems, and Women鈥檚 Work: Modern Poets Writing in English.

Landau was educated at Stanford University, Columbia University, and Brown University, where she was a Javits Fellow and received a Ph.D. in English and American Literature. She is a professor and director of the Creative Writing Program at New York University, and lives in Brooklyn with her husband, sons, and daughter. (From Blue Flower Arts)

Bio

Deborah Landau is the author of five books of poetry: Skeletons; Soft Targets, winner of The Believer Book Award; The Uses of the Body; The Last Usable Hour; and Orchidelirium. Her poems have appeared in The New Yorker, The Paris Review, Poetry, APR, The New York Times, and The Best American Poetry, and she was a 2016 Guggenheim Fellow. She is a Professor and Director of the Creative Writing Program at New York University, and lives in Brooklyn with her family. (From Blue Flower Arts)