No, I didn’t kill the dead human. If I had, I wouldn’t dump the body in the station mall. When Murderbot discovers a dead body on Preservation Station, it knows it is going to have to assist station security to determine who the body is (was), how they were killed (that should be relatively straightforward, at least), and why (because apparently that matters to a lot of people—who knew?) Yes, the unthinkable is about to happen: Murderbot must voluntarily speak to humans! Again!

Elina Ylijaako palaa kotiseudulleen Itä-Lappiin saattamaan loppuun sen, mikä on pantu alulle vuosia sitten. Elina joutuu hyväksymään erakkomaisen äitinsä perinnön ja selvittämään suhdettaan lahjakkaaseen taiteilijaan. Lopulta hänelle ei jää muuta vaihtoehtoa kuin kohdata niin ensirakkautensa kuin lampea vartioiva hirmuinen näkki. Ylikonstaapeli Janatuinen on tullut pidättämään Elinan murhasta epäiltynä. Ennen epäillyn löytymistä hänen täytyy suoriutua onkireissusta peijoonin kanssa ja väkiyöstä – kuolleiden karnevaalista, josta kovaverisinkin noita ymmärtää pysyä erossa. Jängillä vaeltaa tieteelle tuntemattomia olioita kuin ammoin käynnistettyjä koneita, joita kukaan ei osaa sammuttaa. Keittiöön murtautuu peikko, joka syö eilen tehdyn nakkikeiton. Vuosisatoja vanha riivaaja löytää uuden kodin kunnanjohtajasta. Ja lammessa keskellä suota asuu hauki, josta riippuu kaikki.

On a split of land cut off by the Gulf, three Victorian summer houses stand against the encroaching sand. Two of the houses at Beldame are still used. The third house, filling with sand, is empty...except for the vicious horror which is shaping nightmares from the nothingness that hangs in the dank, fetid air. The McCrays and Savages, two fine Mobile families allied by marriage, have been coming to Beldame for years. This summer, with a terrible funeral behind them and a messy divorce coming up, even Luker McCray and little India down from New York are looking forward to being alone at Beldame. But they won't be alone. For something there, something they don't like to think about, is thinking about them...and about all the ways to make them die.

Brotherfollows a teenager determined to break from his family’s unconventional—and deeply disturbing—traditions. Deep in the heart of Appalachia stands a crooked farmhouse miles from any road. The Morrows keep to themselves, and it’s served them well so far. When girls go missing off the side of the highway, the cops don’t knock on their door. Which is a good thing, seeing as to what’s buried in the Morrows’ backyard. But nineteen-year-old Michael Morrow isn’t like the rest of his family. He doesn’t take pleasure in the screams that echo through the trees. Michael pines for normalcy, and he’s sure that someday he’ll see the world beyond West Virginia. When he meets Alice, a pretty girl working at a record shop in the small nearby town of Dahlia, he’s immediately smitten. For a moment, he nearly forgets about the monster he’s become. But his brother, Rebel, is all too eager to remind Michael of his place…

After receiving a frantic letter from her newly-wed cousin begging for someone to save her from a mysterious doom, Noemí Taboada heads to High Place, a distant house in the Mexican countryside. She’s not sure what she will find—her cousin’s husband, a handsome Englishman, is a stranger, and Noemí knows little about the region. Noemí is also an unlikely rescuer: She’s a glamorous debutante, and her chic gowns and perfect red lipstick are more suited for cocktail parties than amateur sleuthing. But she’s also tough and smart, with an indomitable will, and she is not afraid: Not of her cousin’s new husband, who is both menacing and alluring; not of his father, the ancient patriarch who seems to be fascinated by Noemí; and not even of the house itself, which begins to invade Noemí’s dreams with visions of blood and doom. Her only ally in this inhospitable abode is the family’s youngest son. Shy and gentle, he seems to want to help Noemí, but might also be hiding dark knowledge of his family’s past. For there are many secrets behind the walls of High Place. The family’s once colossal wealth and faded mining empire kept them from prying eyes, but as Noemí digs deeper she unearths stories of violence and madness. And Noemí, mesmerized by the terrifying yet seductive world of High Place, may soon find it impossible to ever leave this enigmatic house behind.

From RuPaul’s Drag Race winner and host of HBO’s We’re Here comes an inventive, wondrous novel about American hero Harriet Tubman that remixes history into a fresh, dynamic novel about love, freedom, salvation, and music. In an age of miracles where our greatest heroes from history have magically, unexplainably returned to shake us out of our confusion and hate, Harriet Tubman is back, and she has a lot to say. Harriet Tubman and four of the enslaved persons she led to freedom want to tell their story in a unique way—by following in the footsteps of Lin-Manuel Miranda’s Hamilton. Harriet wants to put on a show about her life, and she needs a songwriter to help her. She calls upon Darnell Williams, a once successful hip-hop producer who was topping the charts before being outed by a rival at the BET Awards. Darnell has no idea what to expect when he steps into the studio with Harriet, only that they have one week to write a Broadway caliber musical she can take on the road. Over the course of their time together, they not only mount a show that will take the country by storm, but confront the horrors of both their pasts, and learn to find a way to a better future. Original, evocative, and historic, Harriet Live in Concert is a landmark achievement that will burrow deep into our hearts (and ears).

A dark retelling of the Brothers Grimm's Goose Girl, rife with secrets, murder, and forbidden magic Cordelia knows her mother is unusual. Their house doesn’t have any doors between rooms, and her mother doesn't allow Cordelia to have a single friend—unless you count Falada, her mother's beautiful white horse. The only time Cordelia feels truly free is on her daily rides with him. But more than simple eccentricity sets her mother apart. Other mothers don’t force their daughters to be silent and motionless for hours, sometimes days, on end. Other mothers aren’t sorcerers. After a suspicious death in their small town, Cordelia’s mother insists they leave in the middle of the night, riding away on Falada’s sturdy back, leaving behind all Cordelia has ever known. They arrive at the remote country manor of a wealthy older man, the Squire, and his unwed sister, Hester. Cordelia’s mother intends to lure the Squire into marriage, and Cordelia knows this can only be bad news for the bumbling gentleman and his kind, intelligent sister. Hester sees the way Cordelia shrinks away from her mother, how the young girl sits eerily still at dinner every night. Hester knows that to save her brother from bewitchment and to rescue the terrified Cordelia, she will have to face down a wicked witch of the worst kind.

In The Soul of Man under Socialism Oscar Wilde expounds on an anarchist world view. Wilde argues that under capitalism the majority of people spoil their lives by an unhealthy and exaggerated altruism-are forced, indeed, so to spoil them: instead of realizing their true talents, they waste their time solving the social problems caused by capitalism, without taking their common cause away. Thus, caring people seriously and very sentimentally set themselves to the task of remedying the evils that they see in poverty, but their remedies do not cure the disease: they merely prolong it because, the proper aim is to try and reconstruct society on such a basis that poverty will be impossible.

In The Soul of Man under Socialism Oscar Wilde expounds on an anarchist world view. Wilde argues that under capitalism the majority of people spoil their lives by an unhealthy and exaggerated altruism-are forced, indeed, so to spoil them: instead of realizing their true talents, they waste their time solving the social problems caused by capitalism, without taking their common cause away. Thus, caring people seriously and very sentimentally set themselves to the task of remedying the evils that they see in poverty, but their remedies do not cure the disease: they merely prolong it because, the proper aim is to try and reconstruct society on such a basis that poverty will be impossible.

From RuPaul’s Drag Race winner and host of HBO’s We’re Here comes an inventive, wondrous novel about American hero Harriet Tubman that remixes history into a fresh, dynamic novel about love, freedom, salvation, and music. In an age of miracles where our greatest heroes from history have magically, unexplainably returned to shake us out of our confusion and hate, Harriet Tubman is back, and she has a lot to say. Harriet Tubman and four of the enslaved persons she led to freedom want to tell their story in a unique way—by following in the footsteps of Lin-Manuel Miranda’s Hamilton. Harriet wants to put on a show about her life, and she needs a songwriter to help her. She calls upon Darnell Williams, a once successful hip-hop producer who was topping the charts before being outed by a rival at the BET Awards. Darnell has no idea what to expect when he steps into the studio with Harriet, only that they have one week to write a Broadway caliber musical she can take on the road. Over the course of their time together, they not only mount a show that will take the country by storm, but confront the horrors of both their pasts, and learn to find a way to a better future. Original, evocative, and historic, Harriet Live in Concert is a landmark achievement that will burrow deep into our hearts (and ears).