Welcome to the Gun Show! The top ten list is populated. The sponsorship program is open. The difficulty is ramping up. The first three floors were nothing compared to what Carl and Donut now face. The Iron Tangle. An impossibly-complicated subway system built out of the world's subterranean railway systems, all combined and then tied together into a knot. Up is down. Down is up. Close is far. The cars are filled with monsters, the railway stations are less than safe, and the exit is always just a few stops away. But there is hope. For the first time, the crawlers are all working together. The loot is better than ever. And the secret to unraveling it all may be hidden in the pages of a seemingly-useless book. Welcome, crawlers. Welcome to the fourth floor of the dungeon.

Ambassador Mahit Dzmare arrives in the center of the multi-system Teixcalaanli Empire only to discover that her predecessor, the previous ambassador from their small but fiercely independent mining Station, has died. But no one will admit that his death wasn't an accident—or that Mahit might be next to die, during a time of political instability in the highest echelons of the imperial court. Now, Mahit must discover who is behind the murder, rescue herself, and save her Station from Teixcalaan's unceasing expansion—all while navigating an alien culture that is all too seductive, engaging in intrigues of her own, and hiding a deadly technological secret—one that might spell the end of her Station and her way of life—or rescue it from annihilation.

Fledgling, Octavia Butler's new novel after a seven year break, is the story of an apparently young, amnesiac girl whose alarmingly inhuman needs and abilities lead her to a startling conclusion: She is in fact a genetically modified, 53-year-old vampire. Forced to discover what she can about her stolen former life, she must at the same time learn who wanted - and still wants - to destroy her and those she cares for and how she can save herself. Fledgling is a captivating novel that tests the limits of "otherness" and questions what it means to be truly human.

Exploring anti-fatness and anti-Blackness at the intersections of race, police violence, gender identity, fatness, and health. To live in a body both fat and Black is to intersect at the margins of a society that normalizes anti-fatness as anti-Blackness: hyper-policed by state and society, passed over for housing and jobs, and derided and misdiagnosed by medical professionals, fat Black people in the United States are subject to culturally sanctioned discrimination, abuse, and trauma. In Belly of the Beast, author Da’Shaun Harrison–a fat, Black, disabled, and non-binary writer AMAB (assigned male at birth)–offers an incisive, fresh, and precise exploration of anti-fatness as anti-Blackness. Foregrounding the state-sanctioned murder of Eric Garner in a historical analysis of the policing, disenfranchisement, and invisibilizing of fat Black men and trans and nonbinary AMAB people, Harrison discusses the pervasive, insidious ways that anti-fat anti-Blackness shows up in everyday life. Fat people can be legally fired in 49 states for being fat; they’re more likely to be houseless. Fat people die at higher rates from misdiagnosis or non-treatment; fat women are more likely to be sexually assaulted. And at the intersections of fatness, race, disability, and gender identity, these abuses are exacerbated. Taking on desirability politics, f*ckability, healthism, hyper-sexualization, invisibility, and the connections between anti-fatness and police violence, Harrison viscerally and vividly illustrates the myriad harms of anti-fat anti-Blackness–and offers strategies for dismantling denial, unlearning the cultural programming that says “fat is bad,” and moving beyond the world we have now toward one that makes space for the fat and Black.

The monumental conclusion to Alex Pheby's Cities of the Weft trilogy. One thousand million infants are dead, and Nathan Treeves is back. He’s become the Master of Waterblack, the City of the Dead. And Sharli, once a sacrifice, then an assassin, is now a trained God-Killer. She has killed many—but failed in killing Nathan Treeves years ago. Soon she, and the Women’s Vanguard, will have another chance, even as The Master, The Mistress and the Atheistic Crusade hurtle toward their final confrontation. The world of Mordew returns in the epic conclusion to the Cities of the Weft trilogy. Welcome to Waterblack.

Nathan Treeves is dead, murdered by the Master of Mordew, his remains used to create the powerful occult weapon known as the Tinderbox. His companions are scattered, making for Malarkoi, the city of the Mistress, the Master’s enemy. They are hoping to find welcome there, or at least safety. They find neither – and instead become embroiled in a life and death struggle against assassins, demi-gods, and the cunning plans of the Mistress. Only Sirius, Nathan’s faithful magical dog, has not forgotten the boy. Bent on revenge, he returns to the shattered remains of Mordew – only to find the city morphed into an impossible mountain, swarming with monsters. The stage is set for battle, sacrifice, magic and treachery in the stunning sequel to Mordew . Welcome to Malarkoi.

Alex Pheby's Mordew launches an astonishingly inventive epic fantasy trilogy. God is dead, his corpse hidden in the catacombs beneath Mordew. In the slums of the sea-battered city, a young boy called Nathan Treeves lives with his parents, eking out a meagre existence by picking treasures from the Living Mud and the half-formed, short-lived creatures it spawns. Until one day his desperate mother sells him to the mysterious Master of Mordew. The Master derives his magical power from feeding on the corpse of God. But Nathan, despite his fear and lowly station, has his own strength―and it is greater than the Master has ever known. Great enough to destroy everything the Master has built. If only Nathan can discover how to use it. So it is that the Master begins to scheme against him―and Nathan has to fight his way through the betrayals, secrets, and vendettas of the city where God was murdered, and darkness reigns. Propulsive, compulsively readable, full of unforgettable characters and a talking dog who wants to be a philosopher, Mordew is an epic fantasy strange, new, and terrifyingly alive .