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It is 1486 and Venice is a wealthy, opulent center for trade. Orsola Rosso is the eldest daughter in a family of glassblowers on Murano, the island revered for the craft. As a woman, she is not meant to work with glass—but she has the hands for it, the heart, and a vision. When her father dies, she teaches herself to make glass beads in secret, and her work supports the Rosso family fortunes.

Once upon a time a young couple met and fell in love. You probably know that story, and how it ended (hint: badly). Only here’s the thing: That’s not how it ended at all. Romeo and Juliet are alive and well and the parents of seven kids. I’m the oldest, with the emphasis on ‘old’—a certified spinster at twenty, and happy to stay that way. It’s not easy to keep your taste for romance with parents like mine. Picture it—constant monologues, passionate declarations, fighting, making up, making out … it’s exhausting.

Alexander “Sander” Cooke is the most celebrated “boy player” in the Chamberlain’s Men, William Shakespeare’s theatre company. Indeed, Sander’s androgynous beauty and deft portrayal of female roles have made him the toast of London, and his companionship is sought by noblewomen and -men alike. And yet, now at the height of his fame, he teeters on the cusp of adulthood, his future uncertain. Often, he wishes he could stop time and remain a boy forever.

England, 1591. Rose Rushe’s passion for life runs deep—she loves mead and music, meddles with astrology, and laughs at her mother’s warnings to guard her reputation. When Rose’s father dies and a noble accuses her and her dear friend Cecely of witchcraft, they flee to the household of respected alchemists in London. But as their bond deepens, their sanctuary begins to feel more like a cage. To escape, they turn to the occult, secretly casting charms and selling astrological advice in the hopes of building a life together.

At a safe distance from the intrigues of courtly life at Louis XIV’s Versailles, an intellectual crowd of mostly women have been gathering in a Parisian home to share what hostess Marie D’Aulnoy herself has christened contes de fées: fairy tales. Recently ousted from court and still raw from the death of his beloved wife, Charles Perrault finds companionship and creative camaraderie at the salon, where he eagerly joins the storytellers. Their hostess is impressive, fiercely intelligent, but somehow unreadable. She is harboring secrets of her own.

As Allied bombs rain down on Torino in the autumn of 1942, Stella Costa’s mother sends her to safety with distant relatives in a Tuscan villa. There, Stella finds her family tasked with a great responsibility: hiding nearly 300 priceless masterpieces from Florence, including Botticelli’s famous Primavera. With the arrival of German troops imminent, Stella finds herself a stranger in her family’s villa and she struggles to understand why her aunt doesn’t like her. She knows it has something to do with her parents.

Yorkshire. 1649. Caragh has hidden her true name and her Irish identity, and since her family fled Ireland in secret they have been proud to own land of their own in England. But one morning, Caragh’s father tells her that they must leave their beloved home as it is no longer safe for them to stay. That morning, Caragh hears shots fired. When she returns to the cottage, she finds her family murdered by Lemuel Lane, a wealthy Protestant who has taken it upon himself to rid the area of anyone with Catholic sympathies.

himself threatened from all sides. First, his secret plans are stolen, then his son is kidnapped by a vengeful enemy from his past. At the same time, Dee’s wife, Jane, is sent by Queen Elizabeth I to console her cousin, Mary, Queen of Scots, whom court advisors are determined to try for treason. But Jane suspects her assignment is much more than a visit from a sympathetic cousin.

The Owl Was a Baker’s Daughter has descriptive copy which is not yet available from the Publisher.

Florence. Autumn, 1539. Cesare Aldo was once an officer for the city’s most feared criminal court. Following a period of exile, he is back but demoted to night patrol when only the drunk and the dangerous roam the streets. Chasing a suspect in the rain, Aldo discovers a horrifying scene beneath Michelangelo’s statue of David. Lifeless eyes gaze from the face of a man whose body has been posed as if crucified. It’s clear the killer had religious motives. When more bodies appear, Aldo believes an unholy murderer is stalking the citizens of Florence.

From the author of The Good Wife of Bath comes this brilliant recreation of the vibrant, optimistic but politically treacherous world of London's Restoration theatre, where we are introduced to the remarkable playwright Aphra Behn, now a feminist icon but then an anomaly, who gravitated to the stage—a place where artifice and disguise are second nature and accommodates those who do not fit in.

Heir to a chateau with its own village and lands, Marguerite is destined for a life of prosperity and gentility. Then she is orphaned, and Jean Francois de la Rocque de Roberval—an enigmatic and volatile man Marguerite has never met—becomes her guardian, controlling her future. He sells her property to pay his debts, leaving her destitute, and insists she accompany him on an expedition to New France. Isolated and afraid, Marguerite befriends Roberval’s servant and the two develop an intense attraction. But when Roberval discovers Marguerite's deception, his rage is all consuming.

Palermo 1632: Giulia is thirteen years old when she learns her mother Teofania's greatest secret. Her mother knows how to brew an undetectable lethal poison, which she uses to free the broken and abused women of Palermo. Now Teofania wants to pass her recipe on to her daughter, and Giulia soon learns that, in a time when women have no voice, justice is sometimes best served in a cup of wine. Rome, 1659: Years later, Giulia ends up alone and poor in Rome. Within the alleys and shadows of the Eternal City, she forms her own circle of female poisoners.

Welcome to Florence, 1517. Sharp-witted seventeen-year-old con-woman Rosa Cellini has plans for the Pope and the Medicis - and, more specifically, the mountain of indulgence money they've been extorting from the people of Tuscany. To pull off the Renaissance's greatest robbery, she'll recruit a team of capable misfits: Sarra the tinkerer, Khalid the fighter, and Giacomo, the irrepressible master of disguise. To top it all off, and to smooth their entrance into the fortress-like Palazzo Medici, Rosa even enlists the reluctant help of famed artist and local misanthrope, Michelangelo.

In the scorched city of Rome, the cobbled streets hum with gossip and sin. Costanza Piccolomini is a respectable young wife - until she meets Gianlorenzo Bernini, the famed sculptor and star of Roman society, whose jet-black gaze matches his dark temper. From the second they set eyes upon each other, a fatal attraction is born. Their secret love burns with a passion that consumes them. But with every stolen kiss and illicit tryst, Costanza's reputation is at stake. Meanwhile, Bernini has a dangerous desire: he wants to make Costanza immortal.