The Hating Game meets Beach Read in this sexy and hilarious contemporary romance from a debut Peruvian-Tennessean voice. Rosie, an idealistic and passionate Peruvian-American who has grown up without strong ties to her culture, leaves her Tennessee hometown to pursue her dream of making it in New York as a writer. But her plan is derailed when she ends up in class with her arch-nemesis and ex-crush, Aiden Huntington—an obnoxious, surly, and gorgeous literary fiction writer who doesn’t have much patience for the romance genre, or for Rosie. Rosie and Aiden regularly go to verbal battle in workshop until their professor reaches her breaking point. She allows them to stay in her class on one condition: they must co-write a novel that blends their genres. The reluctant writing duo can’t help but put pieces of themselves into their accidentally steamy novel, and as they slowly get to know each other, they try to put their differences aside. Meanwhile, their manuscript-in-progress provides an outlet for them to confess their feelings—and explore their attraction toward each other. When Rosie and Aiden find themselves competing against each other for a potentially career-changing opportunity, the flames of old rivalry reignite, and their once-in-a-lifetime love story is once again at risk of being shelved—unless they can find a way to end the book on their own terms.

After Lor makes the biggest mistake of her life, she finds herself on the run from the Aurora King and decides it's time to end this, once and for all. But when a new enemy emerges to claim her freedom, the entire fate of Ouranos comes to rest on her shoulders. As the land continues to rebel, Lor must admit she is the key to saving the continent, whether she likes it or not. To fight for Nadir, she must lie, steal, and do whatever it takes to hunt down the remaining arks. Growing more and more desperate, she worries her actions are turning her into something she doesn't recognize, dooming her to repeat her grandmother's mistakes. When the Aurora King finally comes for her, Lor ventures into the Underworld's shadowy depths, where, once again, she finds herself at the heart of another deadly test. Only this time, she’s competing for everyone's future, not just a crown. The only thing Lor ever wanted was to be free, but she may soon find she was always destined for a cage.

A professor of literature finds herself caught up in a work of fiction… literally. Eileen Merriweather loves to get lost in a good happily-ever-after. The fictional kind, anyway. Because at least imaginary men don’t leave you at the altar. She feels safe in a book. At home. Which might be why she’s so set on going to her annual book club retreat this year—she needs good friends, cheap wine, and grand romantic gestures—no matter what. But when her car unexpectedly breaks down on the way, she finds herself stranded in a quaint town that feels like it’s right out of a novel… Because it is. This place can’t be real, and yet… she’s here, in Eloraton, the town of her favorite romance series, where the candy store’s honey taffy is always sweet, the local bar’s burgers are always a little burnt, and rain always comes in the afternoon. It feels like home. It’s perfect—and perfectly frozen, trapped in the late author’s last unfinished story. Elsy is sure that’s why she must be here: to help bring the town to its storybook ending. Except there is a character in Eloraton that she can’t place—a grumpy bookstore owner with mint-green eyes, an irritatingly sexy mouth and impeccable taste in novels. And he does not want her finishing this book. Which is a problem because Elsy is beginning to think the town’s happily-ever-after might just be intertwined with her own.

From the bestselling author of Ghosts and Everything I Know About Love: a story of heartbreak and friendship and how to survive both. Andy's story wasn't meant to turn out this way. Living out of a suitcase in his best friends' spare room, waiting for his career as a stand-up comedian to finally take off, he struggles to process the life-ruining end of his relationship with the only woman he's ever truly loved. As he tries to solve the seemingly unsolvable mystery of his broken relationship, he contends with career catastrophe, social media paranoia, a rapidly dwindling friendship group and the growing suspicion that, at 35, he really should have figured this all out by now. Andy has a lot to learn, not least his ex-girlfriend's side of the story. Warm, wise, funny and achingly relatable, Dolly Alderton's highly-anticipated second novel is about the mystery of what draws us together - and what pulls us apart - the pain of really growing up, and the stories we tell about our lives.

In this exhilarating novel, two friends—often in love, but never lovers—come together as creative partners in the world of video game design, where success brings them fame, joy, tragedy, duplicity, and, ultimately, a kind of immortality. On a bitter-cold day, in the December of his junior year at Harvard, Sam Masur exits a subway car and sees, amid the hordes of people waiting on the platform, Sadie Green. He calls her name. For a moment, she pretends she hasn't heard him, but then, she turns, and a game begins: a legendary collaboration that will launch them to stardom. These friends, intimates since childhood, borrow money, beg favors, and, before even graduating college, they have created their first blockbuster, Ichigo. Overnight, the world is theirs. Not even twenty-five years old, Sam and Sadie are brilliant, successful, and rich, but these qualities won't protect them from their own creative ambitions or the betrayals of their hearts. Spanning thirty years, from Cambridge, Massachusetts, to Venice Beach, California, and lands in between and far beyond, Gabrielle Zevin's Tomorrow, and Tomorrow, and Tomorrow is a dazzling and intricately imagined novel that examines the multifarious nature of identity, disability, failure, the redemptive possibilities in play, and above all, our need to connect: to be loved and to love. Yes, it is a love story, but it is not one you have read before.

Julia Fox is famous for many her captivating acting, such as her breakout role in the film Uncut Gems ; her trendsetting style, including bleached eyebrows, exaggerated eyeshadow, and cutout dresses; her mastery of social media, where she entertains and educates her millions of followers. But all these share the trait for which she is most unabashedly and unapologetically being herself. This commitment to authenticity has never been more on display than in Down the Drain . With writing that is both eloquent and accessible, Fox recounts her turbulent path to cultural her parents’ volatile relationship that divided her childhood between Italy and New York City and left her largely raising herself; a possessive and abusive drug-dealing boyfriend whose torment continued even from within Rikers Island; her own trips to jail as well as to a psychiatric hospital; her work as a dominatrix that led to a complicated entanglement with a sugar daddy; a heroin habit that led to New Orleans trap houses and that she would kick only after the fatal overdose of her best friend; her own near-lethal overdoses and the deaths of still more friends from drugs and suicide; an emotionally explosive, tabloid-dominating romance with a figure she dubs “The Artist”; a whirlwind, short-lived marriage and her trials as a single parent striving to support her young son. Yet as extraordinary as her story is, its universality is what makes it so powerful. Fox doesn’t just capture her improbable evolution from grade-school outcast to fashion-world icon, she captures her transition from girlhood to womanhood to motherhood. Family and friendship, sex and death, violence and love, money and power, innocence and experience—it’s all here, in raw, remarkable and riveting detail. More than a year before the book’s publication, Fox’s description of it as “a masterpiece” in a red carpet interview went viral. As always, she was just being honest. Down the Drain is a true literary achievement, as one-of-a-kind as its author.

'A book for the modern woman, laced with unflinching, glorious honesty.' Zara McDonald and Michelle Andrews, co-founders of Shameless Media 'A funny, real interrogation of Australia's body image problem, and a call to arms to dismantle diet culture.' Chantelle Otten, author and sexologist 'A feminist manifesto, a younger millennial gospel, with unparalleled candour and self awareness. I inhaled this book - it's going to be big.' Jessie Stephens 'I have always known that to be hot is to be powerful. For most of my life, I just took it as the way things are, a fact not worth interrogating since it's so obviously true.' Up until her twenty-fifth birthday, the number one priority in Lucinda Price's life was to look good. She nipped, tucked, cut, plucked, shaved, tanned, crunched, squatted and starved. Then, she broke down. All I Ever Wanted Was To Be Hot is a funny, provocative retrospective on the last thirty years of Western beauty standards. From the Pussycat Dolls to Victoria's Secret, The Girls of the Playboy Mansion to Lara Bingle, the media of the 2000s was littered with high profile examples of hotness as the highest form of social currency. Is it any wonder a girl growing up in that era might believe "good looks" were as integral to womanhood as having a pulse? With her offbeat humour and incisive cultural commentary, Lucinda tells the unfiltered story of a young woman overcoming an eating disorder, illuminating our enduring obsession with appearance by holding a mirror up to herself, and in turn, all of us. A hilarious, insightful deep dive into self image, desirability, pop-culture and power. A sparkling debut by one of Australia's most beloved creators and comedians, Lucinda Price aka Froomes. 'Brilliant, funny and brutally honest, this is a must-read for anyone trying to navigate through this incredibly complex, image-obsessed age.' Myf Warhurst 'If Tina Fey and David Sedaris had a child, it would be a book… this book.' Ryan Shelton 'My book of the year. Whip-smart. Hilarious. Honest ... Lucinda is a genius who captures and melds the deeply serious and deeply funny in a way few writers can.' Hannah Ferguson