Archives par étiquette : Frances Goldin Literary Agency

WORK NIGHTS d’Erica Peplin

A wry, warm, and irresistible debut following a young queer woman who finds herself in a love triangle with an unobtainable intern and a quick-tempered musician, set between the sterile office of a newspaper and the intoxicating night scene of New York City, and pitched as Sally Rooney meets The Devil Wears Prada.

by Erica Peplin
Gallery, June 2025
(via Frances Goldin Literary Agency)

It’s 2015 and Jane Grabowski, a self-described “dumpy dyke,” is living in Bushwick and working in advertising at the nation’s most storied newspaper. By day, she is reluctantly dragged into a glamorous, precarious, and changing industry, and into the lives of a motley crew of office workers, who alternately horrify and delight her. By night, she goes out with the cool and flighty Madeline Navarro, an ostensibly straight, staggeringly pretty Guatemalan intern with an expensive lifestyle. Despite many signs to the contrary, it feels like Madeline might be the one—except her visa is about to run out.

Also, Jane keeps running into Addy, a temperamental, deeply moral, slightly uncool singer-songwriter. Something shifts, and Jane finds herself spiraling, terrifyingly, towards love. But Madeline’s feelings are shifting too, and it feels truly impossible—and maybe unnecessary—to choose. As small betrayals pile up, alongside the soulless dramas of work, Jane finds herself stuck and desperately unhappy. She’s determined to grow up, quit her job, and change her life. But the comforts of the known, and the thrill of the chase, keep pulling her back, until all her unmade decisions collide.

Wry, tender, and acutely attuned to the spiky intimacies of love, work, and friendship, Work Nights delves deep into the existential conundrums of finding your way in a cold, capitalist world—a world that is also occasionally alight with beauty and strangeness. It joins the small but growing cannon of novels examining the casualties of modern offices, from Joshua Ferris’s Then We Came to the End to Halle Butler’s The New Me and Sarah Thankam Mathews’ All This Could Be Different, and writers like Kristen Arnett, Rachel Khong, Elif Batuman, and Sally Rooney, whose smart, offbeat protagonists are alert to the delusions of the world around them, though not always to their own.

Erica Peplin is a writer from Detroit, Michigan, now based in Brooklyn. Her short stories and essays have appeared in n+1, Joyland, The Millions, McSweeney’s, Autostraddle, The Brooklyn Rail, The Village Voice, Cosmonauts Avenue, Another Gaze, and Hobart. From 2015-16, she worked in the advertising department of the New York Times. Since then, she’s worked as a shipping clerk, a high school custodian, and a restaurant server.


A leading literary and pop culture critic looks at Taylor Swift at the height of her success.

by Stephanie Burt
Basic Books, TBD
(via Frances Goldin Literary Agency)

Based on her forthcoming course at Harvard University, the announcement of which received major media coverage from around the world, UNTITLED ON TAYLOR SWIFT will be the first serious work of cultural criticism about Taylor Swift as an artist and creator, touching on girlhood, fame, privilege, costume, economics, song and stagecraft, and the author’s own transition to womanhood. In the vein of Sarah Smarsh’s She Come By It Natural, on Dolly Parton, or Touré’s I Would Die 4 U: Why Prince Became an Icon, Burt’s book will be an appreciation and analysis of one of the most influential pop stars of a generation.

Stephanie Burt is a poet, literary critic, and professor with nine published books, including Close Calls with Nonsense (Graywolf Press, 2009) which was a finalist for the National Book Critics Circle Award. Her most recent poetry collection is We Are Mermaids (Graywolf, 2022). Her culture writing has appeared in many venues including The New Yorker, The Guardian, The New Republic, The Nation, the London Review of Books and TLS. She is a Guggenheim award winner and the Donald P. and Katherine B. Loker Professor of English at Harvard University.

THE GRIEF CURE de Cody Delistraty

In this lyrical and moving story of the world of Prolonged Grief, journalist Cody Delistraty reflects on his experience with loss and explores what modern science, history, and literature reveal about the nature of our relationship to grief and our changing attitudes toward its cure.

by Cody Delistraty
HarperCollins, June 2024
(via Frances Goldin Literary Agency)

When Cody Delistraty lost his mother to cancer in his early 20s, he found himself unsure how to move forward. Planning for her recovery, he and his family had a purpose. But after she was gone, there seemed to exist only the empty advice on grief: move through the five stages, achieve closure, get back to work, go back to normal. So begins a journey into the new frontiers of grief, where Delistraty seeks out the researchers, technologists, therapists, marketers, and communities around the world looking to cure the pain of loss in novel ways. From the neuroscience of memory deletion to book prescriptions, laughter therapy, psilocybin, and Breakup Bootcamp, what ultimately emerges is not so much a cure as a fresh understanding of what living with grief truly means.

As Delistraty followed the blueprint of his own ad hoc treatment plan, the question of whether the most painful kind of grief can and should be cured had also been taken up by the American Psychiatry Association, as they recently gave extended, intense, disruptive grief an official name: Prolonged Grief Disorder. Stamping this kind of grief with a diagnosis has opened innovative avenues of treatment and an important conversation about a debilitating form of grief, but it also raises the question of whether grief, no matter how severe, is best treated medically at all?

Rigorously researched and beautifully written, The Grief Cure is a moving and eye-opening chronicle of a new diagnosis and a wide-ranging cultural history of grief of all sorts as a human rite. Braiding deep, emotional resonance with sharp research and historical insight, Delistraty places his own experience in dialogue with great writers and thinkers throughout history who have puzzled over this eternal question: how might we best face loss?

Cody Delistraty is the culture editor at The Wall Street Journal Magazine. He has written essays and criticism for The New York Times, The New Yorker, The Atlantic and, while living in Paris for several years, he was the European arts columnist for The Paris Review. He has degrees in politics from New York University and history from the University of Oxford, where he graduated with a double distinction (first class). He and his work have been featured on WNYC, France 5 and Arté; British Vogue named him a best young writer of the year; and he has given corporate talks about tragedy, art, and creativity to companies like PwC.

RULES FOR GHOSTING de Shelly Jay Shore

RULES FOR GHOSTING combines the humor, fraught-but-loving family dynamics, and obsession with death seen in books like Mostly Dead Things, One Last Stop, and Fun Home. It is the gay, Jewish, Six Feet Under we’ve all been waiting for.

by Shelly Jay Shore
Ballantine, Summer 2024
(via Frances Goldin Literary)

Twenty-eight-year-old Ezra Friedman is only a little bit clairvoyant, but enough to make growing up in a funeral home miserable. Maybe it wouldn’t have been so bad if his Zayde’s ghost didn’t keep giving him this look of betrayal and disapproval as he went through an HRT-induced second puberty, or if the dead’s hands weren’t so cold. But, it’s no wonder that Ezra would want to get as far away as possible from the family business.
With his parents’ marriage imploding, Ezra finds himself pulled back into the effort to help save the Friedman Family Memorial Chapel from financial ruin. That means long days of puzzling out his mom’s cryptic filing systems while surrounded by the ghosts no one else can see, while balancing his role as referee between the warring factions of his family. Add in his unfortunate crush on the cute funeral home volunteer who just happens to live downstairs from where Ezra and his ex are now living together as friends, and the new ghost who keeps breaking every spectral rule Ezra’s managed to figure out about the dead, and Ezra’s more than ready to make another run for the hills.
The more Ezra learns about the tangled web of secrets that haunt the Chapel’s halls, the harder it is to maintain the distance that (he thought) kept him sane. As the pressure mounts to figure out how to keep the funeral home from being snapped up by a corporate “body farm”, Ezra is forced to do something he never thought possible.

Shelly Jay Shore (she/they) is a writer, digital strategist, and nonprofit fundraiser. Their writing on queer Jewish identity has been published by Autostraddle, Alma, and the Bi Resource Center. RULES FOR GHOSTING is her debut novel.

RAPE GIRL de Jamie Hood

A necessarily illuminating text, imagining stranger, more radical models of storytelling. Combining the hybridity of Camen Maria Machado’s In the Dream House with the intensity of Maggie Nelson’s The Art of Cruelty, RAPE GIRL promises to do for sexual violence what Citizen did for conversations around race, and become part of a new wave of cultural resistance.

A Study in Nine Parts
by Jamie Hood
Pantheon/Random House, Spring 2024
(via Frances Goldin Literary)

In many ways, RAPE GIRL: A STUDY IN NINE PARTS is the book that essayist, critic, and poet Jamie Hood has been writing her entire life. In the thirty years since her first sexual assault (age six, by the neighbor), it has taken many forms: a chronological, straight memoir of violence; a book-length poem; a manifesto; a novel. In the wake of each subsequent attack (twice as a teenager, several times in graduate school, most recently at a Brooklyn bar), and resultant attempt to narrativize the violence, what became clear was that no single genre was able to capture the entirety of what she was trying to say.
Trauma disorients the very possibility of straightforward narrative, so then why do we expect our tellings of it to be linear and easily digestible? RAPE GIRL asks: what is rape at its core? And beyond: how would an account of rape that acknowledges and incorporates the truth of trauma as an experience shift the conversation?
Told in nine parts—media historical, political, poetic, autofictional, literary critical, and memoiristic—RAPE GIRL reckons with the confessional imperative of survivors and the role of rape narratives in our collective consciousness. Weaving between genres and throughout history, Hood consults Artemesia Gentileschi and other foremothers in revenge and witness, documents a month of walking the exact route that she took to escape an assailant, tangles with the specter of Dick Wolf and
Law & Order, reflects on her own coping mechanisms and childhood in Virginia, probes the specific silence around trans women’s experience of rape, and interrogates what it means to enter a post-#MeToo era of backlash in 2022.

Jamie Hood is a critic, memoirist, and poet, and the author of how to be a good girl (Grieveland 2020). Her work has appeared or is forthcoming in The Baffler, The Nation, Los Angeles Review of Books, The New Inquiry, Observer, The Drift, SSENSE, Bookforum, Vogue, and elsewhere. She lives in Brooklyn.