After a rough tumble and maybe-serious head injury, a disillusioned trans poet falls for a charming corporate lawyer in a love story that grapples with the explosive ghosts of relationships past, romantic and familial, from the Lambda Award-nominated author of Bellies, Nicola Dinan “Fell down the stairs and woke up a trad wife.” Max is thirty, a published poet and grossly overpaid legal counsel for a tech company. With a lifetime of dysphoria and fuccbois rattling around in her head, Max is plagued with a deep dissatisfaction during what should be the best years of her life. After taking a spill down the stairs at a New Year’s Eve party, she decides to make some changes. First things first: a stab at good old-fashioned heteronormativity. Max thinks she’s found the answer in Vincent, a corporate lawyer and hobby baker, whose trad friendship group may as well speak a foreign language, and whose Chinese parents never pictured their son dating a trans woman. This uncharted territory may have rough terrain, but Vincent cares for Max in a way she’d long given up on as a foolish fantasy. Yet Vincent is carrying his own baggage from his gap year in Thailand a decade prior: an explosive entanglement with a mysterious, gorgeous traveler. Voice-driven, warm, and poignant, Disappoint Me is an exploration of millennial angst, race, trans panic, and the allure of bourgeois domesticity that asks if we are defined by our worst mistakes.

Among the ashes of a dying world, an agent of the Commandant finds a letter. It reads: Burn before reading. Thus begins an unlikely correspondence between two rival agents hellbent on securing the best possible future for their warring factions. Now, what began as a taunt, a battlefield boast, grows into something more. Something epic. Something romantic. Something that could change the past and the future. Except the discovery of their bond would mean death for each of them. There's still a war going on, after all. And someone has to win that war.

It isn’t always lonely at the top. Noah Blue’s finally got her foot in the door. After clawing her way to the top of the charts with her webcomic, she’s garnered enough attention to earn a full-time position at a comic company re-launching their cult classic comic: Queen Leisah. Queen Leisah is predicted to be an instant bestseller with movie deals already in the making. Things are falling into place. There’s nowhere to go but up…as soon as she gets one person out of her way. Sage Montgomery has always been the best artist in every building she’s stepped foot in. Raw talent’s gotten her webcomic to the top of the charts every month for the past eight years. She’s been the best for as long as she can remember. Sure, her career has plateaued but that can be fixed with a big, mainstream comic. She was promised full creative control over Leisah. Instead, she got a shared credit with the one artist who’s been breathing down her neck since college. The one artist who has a fighting chance of being better than her. Sage and Noah have to work as a team — or, at least appear to work as a team. They thought the hardest part of the relaunch would be drawing together. But that’s easy in comparison to resisting their feelings for each other.

Before Palm Pilots and iPods, PCs and laptops, the term "computer" referred to the people who did scientific calculations by hand. These workers were neither calculating geniuses nor idiot savants but knowledgeable people who, in other circumstances, might have become scientists in their own right. When Computers Were Human represents the first in-depth account of this little-known, 200-year epoch in the history of science and technology. Beginning with the story of his own grandmother, who was trained as a human computer, David Alan Grier provides a poignant introduction to the wider world of women and men who did the hard computational labor of science. His grandmother's casual remark, "I wish I'd used my calculus," hinted at a career deferred and an education forgotten, a secret life unappreciated; like many highly educated women of her generation, she studied to become a human computer because nothing else would offer her a place in the scientific world. The book begins with the return of Halley's comet in 1758 and the effort of three French astronomers to compute its orbit. It ends four cycles later, with a UNIVAC electronic computer projecting the 1986 orbit. In between, Grier tells us about the surveyors of the French Revolution, describes the calculating machines of Charles Babbage, and guides the reader through the Great Depression to marvel at the giant computing room of the Works Progress Administration. When Computers Were Human is the sad but lyrical story of workers who gladly did the hard labor of research calculation in the hope that they might be part of the scientific community. In the end, they were rewarded by a new electronic machine that took the place and the name of those who were, once, the computers.

"As far as the education of children is concerned," states Natalia Ginzburg in this collection of her finest and best-known short essays, "I think they should be taught not the little virtues but the great ones. Not thrift but generosity and an indifference to money; not caution but courage and a contempt for danger; not shrewdness but frankness and a love of truth; not tact but a love of ones neighbor and self-denial; not a desire for success but a desire to be and to know." Whether she writes of the loss of a friend, Cesare Pavese; or what is inexpugnable of World War II; or the Abruzzi, where she and her first husband lived in forced residence under Fascist rule; or the importance of silence in our society; or her vocation as a writer; or even a pair of worn-out shoes, Ginzburg brings to her reflections the wisdom and grace of a survivor and the spare, wry, and poetically resonant style her readers have come to recognize.

An elderly artist and her six-year-old granddaughter while away a summer together on a tiny island in the gulf of Finland. Gradually, the two learn to adjust to each other's fears, whims and yearnings for independence, and a fierce yet understated love emerges—one that encompasses not only the summer inhabitants but the island itself, with its mossy rocks, windswept firs and unpredictable seas. Full of brusque humour and wisdom, The Summer Book is a profoundly life-affirming story. Tove Jansson captured much of her own experience and spirit in the book, which was her favourite of the novels she wrote for adults. This new edition sees the return of a European literary gem—fresh, authentic and deeply humane.

With a foreword by Jhumpa Lahiri, Quaderno Proibito is a classic domestic novel by the Italian-Cuban feminist writer Alba de Céspedes, whose work inspired contemporary writers like Elena Ferrante. In this modern translation by acclaimed Elena Ferrante translator Ann Goldstein, Forbidden Notebook centers the inner life of a dissatisfied housewife living in postwar Rome. Valeria Cossati never suspected how unhappy she had become with the shabby gentility of her bourgeois life—until she begins to jot down her thoughts and feelings in a little black book she keeps hidden in a closet. This new secret activity leads her to scrutinize herself and her life more closely, and she soon realizes that her individuality is being stifled by her devotion and sense of duty toward her husband, daughter, and son. As the conflicts between parents and children, husband and wife, and friends and lovers intensify, what goes on behind the Cossatis’ facade of middle-class respectability gradually comes to light, tearing the family’s fragile fabric apart. An exquisitely crafted portrayal of domestic life, Forbidden Notebook recognizes the universality of human aspirations.

When Andrée joins her school, Sylvie is immediately fascinated. Andrée is small for her age, but walks with the confidence of an adult. Under her red coat, se hides terrible burn scars. And when she imagines beautiful things, she gets goosebumps... Secretly Sylvie believes that Andrée is a prodigy about whom books will be written. The girls become close. They talk for hours about equality, justice, war and religion; they lose respect for their teachers; they build a world of their own. But they can't stay like this forever. Written in 1954, five years after The Second Sex, the novel was never published in Simone de Beauvoir's lifetime. This first English edition includes an afterword by her adopted daughter, who discovered the manuscript hidden in a drawer, and photographs of the real-life friendship which inspired and tormented the author.

So here we are. My name was Eileen Dunlop. Now you know me. I was twenty-four years old then, and had a job that paid fifty-seven dollars a week as a kind of secretary at a private juvenile correctional facility for teenage boys. I think of it now as what it really was for all intents and purposes—a prison for boys. I will call it Moorehead. Delvin Moorehead was a terrible landlord I had years later, and so to use his name for such a place feels appropriate. In a week, I would run away from home and never go back. This is the story of how I disappeared. The Christmas season offers little cheer for Eileen Dunlop, an unassuming yet disturbed young woman trapped between her role as her alcoholic father’s caretaker in a home whose squalor is the talk of the neighborhood and a day job as a secretary at the boys’ prison, filled with its own quotidian horrors. Consumed by resentment and self-loathing, Eileen tempers her dreary days with perverse fantasies and dreams of escaping to the big city. In the meantime, she fills her nights and weekends with shoplifting, stalking a buff prison guard named Randy, and cleaning up her increasingly deranged father’s messes. When the bright, beautiful, and cheery Rebecca Saint John arrives on the scene as the new counselor at Moorehead, Eileen is enchanted and proves unable to resist what appears at first to be a miraculously budding friendship. In a Hitchcockian twist, her affection for Rebecca ultimately pulls her into complicity in a crime that surpasses her wildest imaginings. Played out against the snowy landscape of coastal New England in the days leading up to Christmas, young Eileen’s story is told from the gimlet-eyed perspective of the now much older narrator. Creepy, mesmerizing, and sublimely funny, in the tradition of Shirley Jackson and early Vladimir Nabokov, this powerful debut novel enthralls and shocks, and introduces one of the most original new voices in contemporary literature. Ottessa Moshfegh is also the author of My Year of Rest and Relaxation, Homesick for Another World: Stories, and McGlue.