The manhua adaptation of the New York Times bestselling novel series continues as Wei Wuxian’s cover is blown! Wei Wuxian’s studies come to an abrupt end when he picks a fight with a young master of the Jin Clan. A lifetime later, he wakes from his dream of days gone by to find he’s still unraveling the mystery of the ghost arm. Following their latest lead, Wei Wuxian and Lan Wangji arrive in Qinghe, where they must contend with strange tombs interring sabers, terrifying man-eating walls, and bizarre sewn-up corpses. But that’s not even the worst of it. Wei Wuxian’s true identity has been revealed! How will he settle his past scores?

In which a humble young carpet merchant wins, then loses, the princess of his dreams Far to the south of the land of Ingary, in the Sultanates of Rashpuht, there lived in the city of Zanzib a young and not very prosperous carpet dealer named Abdullah who loved to spend his time daydreaming. He was content with his life and his daydreams until, one day, a stranger sold him a magic carpet. That very night, the carpet flew him to an enchanted garden. There, he met and fell in love with the beauteous princess Flower-in-the-Night, only to have her snatched away, right under his very nose, by a wicked djinn. With only his magic carpet and his wits to help him, Abdullah sets off to rescue his princess....

A woman kept in stasis in a bunker wakes 5000 years after the fall of humanity to find a desolate world overrun by monsters – and is taken captive by one of them. Content notes/warnings: big bugs

From Atlantic critic and Pulitzer Prize finalist Sophie Gilbert, a blazing critique of how early-aughts pop culture turned women and girls against each other—and themselves—with disastrous consequencesWhat happened to feminism in the 21st century? This question feels increasingly urgent after a period of reactionary cultural and legislative backlash, when widespread uncertainty about the movement’s power, focus, and currency threatens decades of progress. Sophie Gilbert, a staff writer at The Atlantic and finalist for the Pulitzer Prize in criticism, provides one answer, identifying an inflection point in the late 1990s and early 2000s when the energy of third-wave and “riot girrrl” feminism collapsed into a regressive period of hyper-objectification, sexualization, and infantilization. Gilbert mines the darker side of nostalgia, training her keen analytic eye on the most revealing cultural objects of the era, across music, film, television, fashion, tabloid journalism, and more. And what she recounts is harrowing, from the leering aesthetic of American Apparel ads and explicit music videos to a burgeoning internet culture vicious towards women in the spotlight and damaging for those who weren’t. Gilbert tracks many of the period’s dominant themes back to the explosion of internet porn, tracing its widespread influence as it began to pervade our collective consciousness. Gilbert paints a devastating picture of an era when a distinctly American confluence of excess, materialism, and power-worship collided with the culture’s reactionary, puritanical, and chauvinistic currents. Amid a collective reconsideration of the way women are treated in public, Girl on Girl is a blistering indictment of the matrix of misogyny that undergirded the cultural production of the early twenty-first century, and how it continues to shape our world today.

A woman kept in stasis in a bunker wakes 5000 years after the fall of humanity to find a desolate world overrun by monsters – and is taken captive by one of them. Content notes/warnings: big bugs

The unforgettable memoir by the late Virginia Roberts Giuffre, the woman who dared to take on Jeffrey Epstein and Ghislaine Maxwell. The world knows Virginia Roberts Giuffre as Jeffrey Epstein and Ghislaine Maxwell’s most outspoken victim: the woman whose decision to speak out helped send both serial abusers to prison, whose photograph with Prince Andrew catalyzed his fall from grace. But her story has never been told in full, in her own words—until now. In April 2025, Giuffre took her own life. She left behind a memoir written in the years preceding her death and stated unequivocally that she wanted it published. Nobody’s Girl is the riveting and powerful story of an ordinary girl who would grow up to confront extraordinary adversity. Here, Giuffre offers an unsparing and definitive account of her time with Epstein and Maxwell, who trafficked her and others to numerous prominent men. She also details the molestation she suffered as a child, as well as her daring escape from Epstein and Maxwell’s grasp at nineteen. Giuffre remade her life from scratch and summoned the courage to not only hold her abusers to account but also advocate for other victims. The pages of Nobody’s Girl preserve her voice—and her legacy—forever. Nobody’s Girl is an astonishing affirmation of Giuffre’s unshakable will—first, to claw her way out of victimhood, and then to shine light on wrongdoing and fight for a safer, fairer world. Equal parts intimate and fierce, it is a remarkable narrative of fortitude in the face of depravity and despair.

A MOMENT ON THE LIPSSince that night of revelry with charming slacker Gu Fei and their unexpected kiss, Jiang Cheng has been spiraling. Was it the spark of something real or a drunken mistake?After all, in this nothing town, Jiang Cheng cherishes the bonds he’s formed with Gu Fei and his curious sister Gu Miao. But that kiss… If—or when—Gu Fei finds out how much it meant to Jiang Cheng, would everything he’s built unravel?Thankfully, between modeling for Gu Fei’s risqué photoshoots and gearing up for the upcoming basketball showdown with Class Five, Jiang Cheng has plenty to busy himself with. Yet the more time he spends laughing with Gu Fei, the harder it becomes to deny his feelings. When push comes to shove and tensions reach a boiling point, will Gu Fei rise to the occasion or will Jiang Cheng be left out in the cold?

CG Drews, New York Times-bestselling author of Don't Let the Forest In and Hazelthorn, weaves a disturbing and intoxicating siren-call in Scorpion Deep, about a lonely boy who accidentally awakens an obsessive eldritch sea god.The only thing Jonathan Covey wants from the gloomy, moldering isle of Kelcarrow is to leave it. Summer is ending, and his friends are looking forward to college on the mainland, unaware that Jonathan was not accepted to join them. He'll be left behind with nothing but the ocean's haunts and a rising dread of being abandoned.In an act of wild desperation, Jonathan pays a tithe to Scorpion Deep, an eldritch sea god who many of the locals have dismissed as myth. He wants to forget the past, he wants to follow his friends, and most of all he wants to finally escape.To his shock and horror, the ritual works—Scorpion Deep awakens. And despite his terror, Jonathan can't help but feel drawn toward the ageless entity that seems just as mutually obsessed with him. As scales start growing down his spine and Scorpion Deep's adoration of him turns bloody, Jonathan realizes the only way to end the nightmare is to destroy the monster one way or another.But once a god has awoken, the only way to be free is to pay a price of blood.

Alex’s Corbeau-Green’s world is burning down around him, and Ophelia Winters is desperate to prove she didn’t light the fire. When Ophelia first accepted a scholarship from Sorrowsong, an elite university in the Scottish Highlands, she wanted nothing more than to destroy Alex and his family at any cost. But that was before she knew him, before they became each other’s everything. Now, after an unthinkable betrayal and the disappearance of his father, Alex is forced to return to New York, desperate to forget what they had, and salvage the damage done to his family. In Scotland, Ophelia is left reeling, alone . . . and watched. With a new anonymous tormentor threatening to release evidence that Ophelia and Alex committed a murder on campus, it’s clear that they’re going to need each other once again. But can they find a way to trust each other, and repair the love that they had? And even if they can—will it be enough this time to keep them alive?

From Atlantic critic and Pulitzer Prize finalist Sophie Gilbert, a blazing critique of how early-aughts pop culture turned women and girls against each other—and themselves—with disastrous consequencesWhat happened to feminism in the 21st century? This question feels increasingly urgent after a period of reactionary cultural and legislative backlash, when widespread uncertainty about the movement’s power, focus, and currency threatens decades of progress. Sophie Gilbert, a staff writer at The Atlantic and finalist for the Pulitzer Prize in criticism, provides one answer, identifying an inflection point in the late 1990s and early 2000s when the energy of third-wave and “riot girrrl” feminism collapsed into a regressive period of hyper-objectification, sexualization, and infantilization. Gilbert mines the darker side of nostalgia, training her keen analytic eye on the most revealing cultural objects of the era, across music, film, television, fashion, tabloid journalism, and more. And what she recounts is harrowing, from the leering aesthetic of American Apparel ads and explicit music videos to a burgeoning internet culture vicious towards women in the spotlight and damaging for those who weren’t. Gilbert tracks many of the period’s dominant themes back to the explosion of internet porn, tracing its widespread influence as it began to pervade our collective consciousness. Gilbert paints a devastating picture of an era when a distinctly American confluence of excess, materialism, and power-worship collided with the culture’s reactionary, puritanical, and chauvinistic currents. Amid a collective reconsideration of the way women are treated in public, Girl on Girl is a blistering indictment of the matrix of misogyny that undergirded the cultural production of the early twenty-first century, and how it continues to shape our world today.

CHICAGO, SOMETIME— Two people meet in the Art Institute by chance. Prior to their encounter, he is a doctoral student who manages his destructive thoughts with compulsive calculations about time travel; she is a bipolar counterfeit artist, undergoing court-ordered psychotherapy. By the end of the story, these things will still be true. But this is not a story about endings.For Regan, people are predictable and tedious, including and perhaps especially herself. She copes with the dreariness of existence by living impulsively, imagining a new, alternate timeline being created in the wake of every rash decision.To Aldo, the world feels disturbingly chaotic. He gets through his days by erecting a wall of routine: a backbeat of rules and formulas that keep him going. Without them, the entire framework of his existence would collapse. For Regan and Aldo, life has been a matter of resigning themselves to the blueprints of inevitability—until the two meet. Could six conversations with a stranger be the variable that shakes up the entire simulation? From Olivie Blake, the New York Times bestselling author of The Atlas Six, comes an intimate and contemporary study of time, space, and the nature of love. Alone with You in the Ether explores what it means to be unwell, and how to face the fractures of yourself and still love as if you're not broken.

Two writers compete for the chance to tell the larger-than-life story of a woman with more than a couple of plot twists up her sleeve in this dazzling and sweeping new novel from Emily Henry. Alice Scott is an eternal optimist still dreaming of her big writing break. Hayden Anderson is a Pulitzer-prize winning human thundercloud. And they’re both on balmy Little Crescent Island for the same reason: To write the biography of a woman no one has seen in years--or at least to meet with the octogenarian who claims to be the Margaret Ives. Tragic heiress, former tabloid princess, and daughter of one of the most storied (and scandalous) families of the 20th Century. When Margaret invites them both for a one-month trial period, after which she’ll choose the person who’ll tell her story, there are three things keeping Alice’s head in the game. One: Alice genuinely likes people, which means people usually like Alice—and she has a whole month to win the legendary woman over. Two: She’s ready for this job and the chance to impress her perennially unimpressed family with a Serious Publication Three: Hayden Anderson, who should have no reason to be concerned about losing this book, is glowering at her in a shaken-to-the core way that suggests he sees her as competition. But the problem is, Margaret is only giving each of them pieces of her story. Pieces they can’t swap to put together because of an ironclad NDA and an inconvenient yearning pulsing between them every time they’re in the same room. And it’s becoming abundantly clear that their story—just like the tale Margaret’s spinning—could be a mystery, tragedy, or love ballad…depending on who’s telling it.

Persuasion is Jane Austen's last completed novel. She began it soon after she had finished Emma, completing it in August 1816. She died, aged 41, in 1817; Persuasion was published in December that year (but dated 1818). Persuasion is linked to Northanger Abbey not only by the fact that the two books were originally bound up in one volume and published together, but also because both stories are set partly in Bath, a fashionable city with which Austen was well acquainted, having lived there from 1801 to 1805. Besides the theme of persuasion, the novel evokes other topics, such as the Royal Navy, in which two of Jane Austen's brothers ultimately rose to the rank of admiral. As in Northanger Abbey, the superficial social life of Bath-well known to Austen, who spent several relatively unhappy and unproductive years there-is portrayed extensively and serves as a setting for the second half of the book. In many respects Persuasion marks a break with Austen's previous works, both in the more biting, even irritable satire directed at some of the novel's characters and in the regretful, resigned outlook of its otherwise admirable heroine, Anne Elliot, in the first part of the story. Against this is set the energy and appeal of the Royal Navy, which symbolises for Anne and the reader the possibility of a more outgoing, engaged, and fulfilling life, and it is this worldview which triumphs for the most part at the end of the novel.

About three things I was absolutely positive. First, Edward was a vampire. Second, there was a part of him - and I didn't know how dominant that part might be - that thirsted for my blood. And third, I was unconditionally and irrevocably in love with him. Deeply seductive and extraordinarily suspenseful, Twilight is a love story with bite.

From a dazzling new talent, a sensual and spellbinding novel about one summer that shatters the balance between three best friends, forcing them to confront the line between friendship and desireFifteen-year-old Mina’s whole world is her two best friends, but after an unexpected kiss, the established dynamics of their trio quickly unravel. Everything that was once shared openly, from clothes to secrets, now feels impossibly fragile. Loyalties shift and tensions simmer across the long days of this pivotal summer, where the girls have nowhere new to go and everything new to feel.Looking back, an adult Mina traces the undercurrents of longing that shaped her first experience of desire. The rituals of girlhood—gossip, selfies, sleepovers, and videogames—become threads in a delicate, volatile web of intimacy, in which everything feels achingly fleeting and permanently etched. Loving one person, Mina learns, can change the way we love everyone else—including ourselves. Bold, vulnerable, and sharply observant, Girl’s Girl is a sundrenched and dewy snapshot of modern girl culture set in the blaze of one suburban Midwest summer.

The killer debut novel of 2026.'Phenomenal. The voice is utterly singular, the writing is stunning' LOUISE O'NEILL 'A hugely talented writer … A marvel of a novel, a story that breathes beyond its pages' ORE AGBAJE-WILLIAMS The first time, Yrsa doesn’t intend to kill. But the Cambridge professor sitting opposite has manipulated her friend, stolen her research. When she flicks the bee into his Sanpellegrino, she thinks he’ll get a nasty sting. Then he’s dead. And Yrsa, who – let’s face it – has been bored for a while, is alive. It’s a sweet feeling, finally having some control. Comic, sexy, addictive, unpredictable, Honey launches an exciting new voice in fiction. The essential next read for fans of Butter, My Sister the Serial Killer, Such a Fun Age, Luster or Boy Parts.