The definitive, dramatic, minute-by-minute story of the Challenger disaster based on new archival research and in-depth reporting. On January 28, 1986, just seventy-three seconds into flight, the space shuttle Challenger broke apart over the Atlantic Ocean, killing all seven people on board. Millions of Americans witnessed the tragic deaths of a crew including New Hampshire schoolteacher Christa McAuliffe. Like 9/11 or JFK’s assassination, the Challenger disaster is a defining moment in 20th-century history—yet the details of what took place that day, and why, have largely been forgotten. Until now. Based on extensive archival records and meticulous, original reporting, Challenger follows a handful of central protagonists—including each of the seven members of the doomed crew—through the years leading up to the accident, a detailed account of the tragedy itself, and into the investigation that followed. It’s a tale of optimism and promise undermined by political cynicism and cost-cutting in the interests of burnishing national prestige; of hubris and heroism; and of an investigation driven by leakers and whistleblowers determined to bring the truth to light. Throughout, there are the ominous warning signs of a tragedy to come, recognized but then ignored, and ultimately kept from the public. Higginbotham reveals the history of the shuttle program, the lives of men and women whose stories have been overshadowed by the disaster as well as the designers, engineers, and test pilots who struggled against the odds to get the first shuttle into space.

A traditional American woman, a “tradwife” influencer, suddenly awakens in the brutal reality of 1855—where she must unravel whether this living nightmare is an elaborate hoax, a twisted reality show, or something far more sinister in this sensational debut novel. My name was Natalie Heller Mills, and I was perfect at being alive. Natalie lives a traditional lifestyle. Her charming farmhouse is rustic, her husband a handsome cowboy, her six children each more delightful than the last. So what if there are nannies and producers behind the scenes, her kitchen hiding industrial-grade fridges and ovens, her husband the heir to a political dynasty? What Natalie’s followers—all 8 million of them—don’t know won’t hurt them. And The Angry Women? The privileged, Ivy League, coastal elite haters who call her an antifeminist iconoclast? They’re sick with jealousy. Because Natalie isn’t simply living the good life, she’s living the ideal—and just so happens to be building an empire from it. Until one morning she wakes up in a life that isn’t hers. Her home, her husband, her children—they’re all familiar, but something’s off. Her kitchen is warmed by a sputtering fire rather than electricity, her children are dirty and strange, and her soft-handed husband is suddenly a competent farmer. Just yesterday Natalie was curating photos of homemade jam for her Instagram, and now she’s expected to haul firewood and handwash clothes until her fingers bleed. Has she become the unwitting star of a ruthless reality show? Could it really be time travel? Is she being tested by God? By Satan? When Natalie suffers a brutal injury in the woods, she realizes two things: This is not her beautiful life, and she must escape by any means possible. A gripping, electrifying novel that is as darkly funny as it is frightening, Yesteryear is a gimlet-eyed look at tradition, fame, faith, and the grand performance of womanhood.

HAMMAJANG | adjective. Definition: In a disorderly or chaotic state; messed up. Chiefly in predicative use, esp. in all hammajang. Etymology: A borrowing from Hawaiian Pidgin. Source: Oxford English Dictionary. Edie is done with crime. Eight years behind bars changes a person - costs them too much time with too many of the people who need them most. And it's all Angel's fault. She sold Edie out in what should have been the greatest moment of their lives. Instead, Edie was shipped off to the icy prison planet spinning far below the soaring skybridges and neon catacombs of Kepler space station - of home - to spend the best part of a decade alone. But then a chance for early parole appears out of nowhere and Edie steps into the pallid sunlight to find none other than Angel waiting - and she has an offer. One last job. One last deal. One last target. The trillionaire tech god they failed to bring down last time. There's just one thing Edie needs to do - trust Angel again - which also happens to be the last thing Edie wants to do. What could possibly go all hammajang about this plan? Ocean's 8 meets Blade Runner in this trail-blazing debut science fiction novel and swashbuckling love letter to Hawai'i about being forced to find a new home and striving to build a better one - unmissable for fans of Gideon the Ninth by Tamsyn Muir and Six of Crows by Leigh Bardugo.

HAMMAJANG | adjective. Definition: In a disorderly or chaotic state; messed up. Chiefly in predicative use, esp. in all hammajang. Etymology: A borrowing from Hawaiian Pidgin. Source: Oxford English Dictionary. Edie is done with crime. Eight years behind bars changes a person - costs them too much time with too many of the people who need them most. And it's all Angel's fault. She sold Edie out in what should have been the greatest moment of their lives. Instead, Edie was shipped off to the icy prison planet spinning far below the soaring skybridges and neon catacombs of Kepler space station - of home - to spend the best part of a decade alone. But then a chance for early parole appears out of nowhere and Edie steps into the pallid sunlight to find none other than Angel waiting - and she has an offer. One last job. One last deal. One last target. The trillionaire tech god they failed to bring down last time. There's just one thing Edie needs to do - trust Angel again - which also happens to be the last thing Edie wants to do. What could possibly go all hammajang about this plan? Ocean's 8 meets Blade Runner in this trail-blazing debut science fiction novel and swashbuckling love letter to Hawai'i about being forced to find a new home and striving to build a better one - unmissable for fans of Gideon the Ninth by Tamsyn Muir and Six of Crows by Leigh Bardugo.

"Ranging from Reconstruction to the Black Power period, this thoroughly and creatively researched book effectively challenges long-held beliefs about the Black Freedom Struggle. It should make it abundantly clear that the violence/nonviolence dichotomy is too simple to capture the thinking of Black Southerners about the forms of effective resistance."—Charles M. Payne, University of Chicago The notion that the civil rights movement in the southern United States was a nonviolent movement remains a dominant theme of civil rights memory and representation in popular culture. Yet in dozens of southern communities, Black people picked up arms to defend their leaders, communities, and lives. In particular, Black people relied on armed self-defense in communities where federal government officials failed to safeguard activists and supporters from the violence of racists and segregationists, who were often supported by local law enforcement. In We Will Shoot Back: Armed Resistance in the Mississippi Freedom Movement, Akinyele Omowale Umoja argues that armed resistance was critical to the efficacy of the southern freedom struggle and the dismantling of segregation and Black disenfranchisement. Intimidation and fear were central to the system of oppression in Mississippi and most of the Deep South. To overcome the system of segregation, Black people had to overcome fear to present a significant challenge to White domination. Armed self-defense was a major tool of survival in allowing some Black southern communities to maintain their integrity and existence in the face of White supremacist terror. By 1965, armed resistance, particularly self-defense, was a significant factor in the challenge of the descendants of enslaved Africans to overturning fear and intimidation and developing different political and social relationships between Black and White Mississippians. This riveting historical narrative relies upon oral history, archival material, and scholarly literature to reconstruct the use of armed resistance by Black activists and supporters in Mississippi to challenge racist terrorism, segregation, and fight for human rights and political empowerment from the early 1950s through the late 1970s. Akinyele Omowale Umoja is Associate Professor and Chair of the Department of African-American Studies at Georgia State University, where he teaches courses on the history of the Civil Rights, Black Power, and other social movements.

La protagonista, Okomo, una adolescente de etnia fang, atrapada en un sistema de valores que no le permite desarrollar su personalidad, se anima a emprender la búsqueda de su progenitor, cuya identidad le ocultan sus mayores. El viaje la llevará a recorrer su país, en el que se encontrará con las secuelas del colonialismo aún vigentes. En su camino, conocerá a otros personajes que, como ella, se rebelan contra las convenciones sociales y con quienes vivirá experiencias que la transformarán para siempre.La obra, que contiene información sociológica y antropológica de primera mano, es un relato valiente y directo sobre el conflicto entre la estructura familiar y las creencias ancestrales de los fang y los deseos de libertad de las nuevas generaciones en el África subsahariana.

From the author and translator of the National Book Award finalist and Booker Prize shortlisted Cursed Bunny, comes a new novel-in-ghost-stories, set in a mysterious research center that houses cursed objects, where those who open the wrong door might find it’s disappeared behind them, or that the echoing footsteps they’re running from are their own… The acclaimed Korean horror and sci-fi writer’s goosebump-inducing new book follows an employee on the night shift at the Institute. They soon learn why some employees don't last long at the center. The handkerchief in Room 302 once belonged to the late mother of two sons, whose rivalry imbues the handkerchief with undue power and unravels those around it. The cursed sneaker down the hall is stolen by a live-streaming, ghost-chasing employee, who later finds he can’t escape its tread. A cat in Room 206 reveals the crimes of its former family, trying to understand its own path to the Institute’s halls. But Chung's haunted institute isn't just a chilling place to play. As in her astounding collections Cursed Bunny and Your Utopia, these violent allegories take on the horrors of animal testing, conversion therapy, domestic abuse, and late-stage capitalism. Equal parts bone-chilling, wryly funny, and deeply political, Midnight Timetable is a masterful work of literary horror from one of our time's greatest imaginations.

When an ageing mother allows her thirty-something daughter to move into her apartment, she wants for her what many mothers might say they want for their child: a steady income, and, even better, a good husband with a good job with whom to start a family. But when Green turns up with her girlfriend, Lane, in tow, her mother is unprepared and unwilling to welcome Lane into her home. In fact, she can barely bring herself to be civil. Having centred her life on her husband and child, her daughter’s definition of family is not one she can accept. Her daughter’s involvement in a case of unfair dismissal involving gay colleagues from the university where she works is similarly strange to her. And yet when the care home where she works insists that she lower her standard of care for an elderly dementia patient who has no family, who travelled the world as a successful diplomat, who chose not to have children, Green’s mother cannot accept it. Why should not having chosen a traditional life mean that your life is worth nothing at all?

Unspoken tensions simmer between two women under the heat of a Catalan summer in this internationally bestselling, erotic, and quietly radical portrait of queer desire.In a sun-drenched house on the Catalan coast, a young, queer photographer arrives to capture the portrait of a celebrated writer. But what begins as a professional collaboration slowly unravels into something more intimate and unsettling—a charged exchange of glances, silence, and shifting emotional boundaries. The photographer, unnamed and quietly observant, is drawn to the writer’s enigmatic presence, her self-possession, her power. Over shared meals and quiet routines, the difficulty of understanding the desire of the other begins to obsess the narrator. As the summer heat thickens, so too does the unspoken tension between them, heightening the photographer’s insecurities and her perception of her own flaws. When a third woman arrives, an old friend with blurred boundaries, the fragile connection begins to unravel. Is this seduction, or projection? Intimacy, or illusion? Told through lyrical, introspective prose, The Seduction is a poetic, slow-burn exploration of the complexities of seduction between women, intimacy, queer longing, and the quiet ache of unfulfilled connections.

After a falling out, two friends reunite for a long-planned road trip through Brazil. As they drive from town to town, the complications of their friendship resurface. At the novel’s center is a romance, as Bensimon offers an intimate look into identity, love, and desire. By the end of the trip, the women must decide what the future holds, in a queer, coming-of-age debut novel that has been celebrated in Brazil.

Things are going great for Baylee Lawrence. Her writing has won awards, been adapted into an outrageously successful movie, and she’s just achieved her childhood dream of selling out a storytelling show at the Ryman. It’s incredible. Her life is perfect—a series of grand adventures. She has no intention of changing anything. Why would she? She finally has exactly what she’s spent her whole life chasing and sacrificing for. After a long night celebrating her success, Baylee is confronted with an unexpected blast from her past, setting off a domino string of events that sends her spiraling into a part of her life and heart that she’d spent the last decade trying to forget. She doesn’t want to go back. Normally she wouldn’t—but there’s a bucket list, a debt to pay, and the promise of what might be her grandest adventure yet. Spanning nineteen years - and one really weird week - The Flight Risk is a modern retelling of the red thread of fate, a love story exploring with humor and heart what it means for the universe to conspire for you, despite you

Demetrio Rota, recogedor de basura de Buenos Aires, duerme por las tardes y monta puzzles por las noches antes de marcharse al trabajo. Su vida cotidiana es mediocre y se mantiene en equilibrio por puro agotamiento. Sin embargo, a traves de los puzzles, Demetrio revisa y encaja su propia memoria. Al final del recorrido por su historia, el presente parece devorar a Demetrio hasta dejarle solo el vacio de si mismo y de la miseria diaria. Parabola de la memoria y del deterioro, Bariloche plantea la confusion entre los recuerdos asombrados de la adolescencia y una conciencia esceptica, entre la idealizacion imposible de la naturaleza o del primer amor y la asfixia moral y fisica de las grandes ciudades, entre el desarraigo y el retorno al origen, con un lenguaje fascinado tanto por el lirismo como por la podredumbre.

(* China. Pronounced ‘cheena’: designation for female, from the Quechua. Iron: The English word for Fierro, reference to the gaucho Martín Fierro, from José Hernández’s epic poem.) This is a riotous romp taking the reader from the turbulent frontier culture of the pampas deep into indigenous territories. It charts the adventures of Mrs China Iron, Martín Fierro’s abandoned wife, in her travels across the pampas in a covered wagon with her new-found friend, soon to become lover, a Scottish woman named Liz. While Liz provides China with a sentimental education and schools her in the nefarious ways of the British Empire, their eyes are opened to the wonders of Argentina’s richly diverse flora and fauna, cultures and languages, as well as to its national struggles. After a clash with Colonel Hernández (the author who ‘stole’ Martín Fierro’s poems) and a drunken orgy with gauchos, they eventually find refuge and a peaceful future in a utopian indigenous community, the river- dwelling Iñchiñ people. Seen from an ox-drawn wagon, the narrative moves through the Argentinian landscape, charting the flora and fauna of the Pampas, Gaucho culture, Argentinian nation-building and British colonial projects. In a unique reformulation of history and literary tradition, Gabriela Cabezón Cámara, with humour and sophistication, re-writes Martín Fierro from a feminist, LGBT, postcolonial point of view. She creates a hilarious novel that is nevertheless incisive in its criticism of the way societies come into being, and the way they venerate mythical heroes.

Lia fled her home after a brutal crime decades ago, but family, and the truth, will never let you go. Thirty years ago, in an empty plot of a quiet neighbourhood, a teenage girl's body was found quartered and burned. The investigation ended with no arrests and her family – middle class, educated, Catholic – quietly disintegrated. Three decades later, the hidden truth comes to light thanks to the father's enduring love for the victim. That truth will reveal the raw realities lurking behind appearances, the cruelty of those who prioritize obedience and religious fanaticism, the complicity of the fearful and the indifferent, and the loneliness and desperation of those who seek to follow their own path, ignoring the dictates of their elders. Just as she did with Elena Knows and A Little Luck , Claudia Piñeiro delves into family ties, social prejudice, and the ideologies and institutions that affect our inner worlds to deliver a brave, moving novel that strikes at the heart of these private dramas.

In a post-apocalyptic matriarchy that has erased men, capitalism, and hierarchy, a devout novitiate destined for a sacred lunar abbey faces a crisis of faith when her best friend begins receiving visions of a forbidden masculine archangel—forcing her to choose between spiritual purity and human desire. The year is 2171, and the Earth is not what it once was. The natural world once again reigns supreme, wild and ungovernable, after a series of wasting plagues and unmitigated climate disasters, the twin coups of fascism and AI, and a final, catastrophic nuclear fallout. Small monastic communities have emerged from the carnage—self-sufficient, female-only religious utopias governed by a strict codex and surrounded by walls to keep the wilds at bay. The new world is harmonious, and blissfully free from structures of oppression such as hierarchy, capitalism, and time. Seventeen-year-old Igraine has never known life beyond the cloistered walls of the Field or seen a human male. Brilliant and devout, she spends her days in the gardens and scriptorium beside her closest companion, Ophelia. Their studies will culminate in twin posts at the Lunar Abbey—a gothic cathedral on the Moon reserved for the most venerated Sisters. Their futures fracture when Ophelia begins receiving visions of a mysterious, alluring, and damningly masculine archangel. As doubt spreads and rumors surface about the Order’s darker underpinnings, the girls venture beyond the convent’s walls and into the wilderness—while navigating the volatility of their deepening bond. When Igraine’s formidable mentor, Sister Agathe, takes a romantic interest in her, devotion blurs into jealousy and illicit desire. In the aftermath, Igraine must confront her unraveling faith in a system that demands her complete surrender.