The story of an Indigenous girl’s kidnapping during a colonial expedition intertwines with a young woman’s modern-day search for identity and ancestral truths. In 1817, explorers Spix and Martius returned from their three-year voyage in Brazil with not only an extensive account of their journey, but also with an Indigenous boy and girl, Iñe-e and Juri. Kidnapped from rival tribes as part of the colonialist trend of collecting “living specimens” on scientific expeditions, the two tragically perished shortly after arriving in Europe. This lyrically rich novel takes their perspective to illuminate their harrowing journey. Micheliny Verunschk’s fifth novel, the first to be translated into English, powerfully challenges dominant historical narratives by centering the voices of these stolen Indigenous children. Intertwining their story with a narrative set in contemporary Brazil, we meet Josefa, a young woman grappling with her own identity when she encounters Iñe-e’s image in an exhibition. Through its poignant exploration of memory, colonialism, and belonging, this novel stands out in Brazilian literature, offering readers a profound reflection on the enduring impact of history on personal lives.

A bold, inventive, and fiercely original debut novel that begins with an uncle dead and his tween niece’s private confession to the reader—she and her sister killed him, and they blame the British. Summer, 1986. The Creel sisters, Georgie Ayyar and Agatha Krishna, welcome their aunt, uncle and young cousin—newly arrived from India—into their house in rural Wyoming where they’ll all live together. Because this is what families do. That is, until the sisters decide that it’s time for their uncle to die. According to Georgie, the British are to blame. And to understand why, you need to hear her story. She details the violence hiding in their house and history, her once-unshakeable bond with Agatha Krishna, and her understanding of herself as an Indian-American in the heart of the West. Her account is, at every turn, cheeky, unflinching, and infectiously inflected with the trappings of teendom, including the magazine quizzes that help her make sense of her life. At its heart, the tale she weaves is: a) a vivid portrait of an extended family b) a moving story of sisterhood c) a playful ode to the 80s d) a murder mystery (of sorts) e) an unexpected and unwaveringly powerful meditation on history and language, trauma and healing, and the meaning of independence Or maybe it’s really: f) all of the above.

The story of an Indigenous girl’s kidnapping during a colonial expedition intertwines with a young woman’s modern-day search for identity and ancestral truths. In 1817, explorers Spix and Martius returned from their three-year voyage in Brazil with not only an extensive account of their journey, but also with an Indigenous boy and girl, Iñe-e and Juri. Kidnapped from rival tribes as part of the colonialist trend of collecting “living specimens” on scientific expeditions, the two tragically perished shortly after arriving in Europe. This lyrically rich novel takes their perspective to illuminate their harrowing journey. Micheliny Verunschk’s fifth novel, the first to be translated into English, powerfully challenges dominant historical narratives by centering the voices of these stolen Indigenous children. Intertwining their story with a narrative set in contemporary Brazil, we meet Josefa, a young woman grappling with her own identity when she encounters Iñe-e’s image in an exhibition. Through its poignant exploration of memory, colonialism, and belonging, this novel stands out in Brazilian literature, offering readers a profound reflection on the enduring impact of history on personal lives.

Magic has made the city of Tiran an industrial utopia, but magic has a cost—and the collectors have come calling. An orphan since the age of four, Sciona has always had more to prove than her fellow students. For twenty years, she has devoted every waking moment to the study of magic, fueled by a mad desire to achieve the impossible: to be the first woman ever admitted to the High Magistry. When she finally claws her way up the ranks to become a highmage, however, she finds that her challenges have just begun. Her new colleagues will stop at nothing to let her know she is unwelcome, beginning with giving her a janitor instead of a qualified lab assistant. What neither Sciona nor her peers realize is that her taciturn assistant was once more than a janitor; before he mopped floors for the mages, Thomil was a nomadic hunter from beyond Tiran’s magical barrier. Ten years have passed since he survived the perilous crossing that killed his family. But working for a highmage, he sees the opportunity to finally understand the forces that decimated his tribe, drove him from his homeland, and keep the Tiranish in power. Through their fractious relationship, mage and outsider uncover an ancient secret that could change the course of magic forever—if it doesn’t get them killed first. Sciona has defined her life by the pursuit of truth, but how much is one truth worth with the fate of civilization in the balance? A standalone dark academia brimming with mystery, tragedy, and the damning echoes of the past. For fans of Leigh Bardugo, V. E. Schwab, and Fullmetal Alchemist. (Content warnings for gore, sexual assault, and suicidal ideation)

In August 1897, the young Belgian commandant Adrien de Gerlache set sail for a three-year expedition aboard the good ship Belgica with dreams of glory. His destination was the uncharted end of the the icy continent of Antarctica. But de Gerlache’s plans to be first to the magnetic South Pole would swiftly go awry. After a series of costly setbacks, the commandant faced two bad turn back in defeat and spare his men the devastating Antarctic winter, or recklessly chase fame by sailing deeper into the freezing waters. De Gerlache sailed on, and soon the Belgica was stuck fast in the icy hold of the Bellingshausen Sea. When the sun set on the magnificent polar landscape one last time, the ship’s occupants were condemned to months of endless night. In the darkness, plagued by a mysterious illness and besieged by monotony, they descended into madness. In Madhouse at the End of the Earth, Julian Sancton unfolds an epic story of adventure and horror for the ages. As the Belgica’s men teetered on the brink, de Gerlache relied increasingly on two young officers whose friendship had blossomed in the expedition’s lone American, Dr. Frederick Cook—half genius, half con man—whose later infamy would overshadow his brilliance on the Belgica; and the ship’s first mate, soon-to-be legendary Roald Amundsen, even in his youth the storybook picture of a sailor. Together, they would plan a last-ditch, nearly certain-to-fail escape from the ice—one that would either etch their names in history or doom them to a terrible fate at the ocean’s bottom. Drawing on the diaries and journals of the Belgica’s crew and with exclusive access to the ship’s logbook, Sancton brings novelistic flair to a story of human extremes, one so remarkable that even today NASA studies it for research on isolation for future missions to Mars. Equal parts maritime thriller and gothic horror, Madhouse at the End of the Earth is an unforgettable journey into the deep.

In a faraway land where members of the royal family are named for the virtues they embody, one young boy will become a walking enigma. Born on the wrong side of the sheets, Fitz, son of Chivalry Farseer, is a royal bastard, cast out into the world, friendless and lonely. Only his magical link with animals - the old art known as the Wit - gives him solace and companionship. But the Wit, if used too often, is a perilous magic, and one abhorred by the nobility. So when Fitz is finally adopted into the royal household, he must give up his old ways and embrace a new life of weaponry, scribing, courtly manners; and how to kill a man secretly, as he trains to become a royal assassin.

Two women, centuries apart--one of whom is the real author of Shakespeare's plays--are both forced to hide behind another name to make their voices heard. In 1581, Emilia Bassano--like most young women of her day--is allowed no voice of her own. But as the Lord Chamberlain's mistress, she has access to all theater in England, and finds a way to bring her work to the stage secretly. And yet, creating some of the world's greatest dramatic masterpieces comes at great cost: by paying a man for the use of his name, she will write her own out of history. In the present, playwright Melina Green has just written a new work inspired by the life of her Elizabethan ancestor Emilia Bassano. Although the challenges are different four hundred years later, the playing field is still not level for women in theater. Would Melina--like Emilia--be willing to forfeit her credit as author, just for a chance to see her work performed? Told in intertwining narratives, this sweeping tale of ambition, courage, and desire asks what price each woman is willing to pay to see their work live on--even if it means they will be forgotten.