“Violent, smart, gruesome and wildly original, this novel pulls readers into a horrific world of murder and cannibalism while also critiquing misogyny, exploring Asian fetishization and stereotypes, sharing what it’s like to navigate two cultures and telling a touching story of a family in turmoil.” —New York Times Book Review Crying in H-Mart meets My Sister, the Serial Killer in this feminist psychological horror about the making of a female serial killer from a Korean-American perspective. Ji-won’s life tumbles into disarray in the wake of her appa’s extramarital affair and subsequent departure. Her mother, distraught. Her younger sister, hurt and confused. Her college freshman grades, failing. Her dreams, horrifying… yet enticing. In them, Ji-won walks through bloody rooms full of eyes. Succulent blue eyes. Salivatingly blue eyes. Eyes the same shape and shade as George’s, who is Umma’s obnoxious new boyfriend. George has already overstayed his welcome in her family’s claustrophobic apartment. He brags about his puffed-up consulting job, ogles Asian waitresses while dining out, and acts condescending toward Ji-won and her sister as if he deserves all of Umma’s fawning adoration. No, George doesn’t deserve anything from her family. Ji-won will make sure of that. For no matter how many victims accumulate around her campus or how many people she must deceive and manipulate, Ji-won’s hunger and her rage deserve to be sated. A brilliantly inventive, subversive novel about a young woman unraveling, Monika Kim’s The Eyes Are the Best Part is a story of a family falling apart and trying to find their way back to each other, marking a bold new voice in horror that will leave readers mesmerized and craving more.

On a cool evening in Kolkata, India, beneath a full moon, as the whirling rhythms of traveling musicians fill the night, college professor Alok encounters a mysterious stranger with a bizarre confession and an extraordinary story. Tantalized by the man’s unfinished tale, Alok will do anything to hear its completion. So Alok agrees, at the stranger’s behest, to transcribe a collection of battered notebooks, weathered parchments, and once-living skins. From these documents spills the chronicle of a race of people at once more than human yet kin to beasts, ruled by instincts and desires blood-deep and ages-old. The tale features a rough wanderer in seventeenth-century Mughal India who finds himself irrevocably drawn to a defiant woman—and destined to be torn asunder by two clashing worlds. With every passing chapter of beauty and brutality, Alok’s interest in the stranger grows and evolves into something darker and more urgent.

A literary horror debut about a boy who transforms into a monster, a monster who tries to be a man, and the people who love him in every form he takes Grieving mother Magos cuts out a piece of her deceased eleven-year-old son Santiago’s lung. Acting on fierce maternal instinct and the dubious logic of an old folktale, she nurtures the lung until it gains sentience, growing into the carnivorous little Monstrilio she keeps hidden within the walls of her family’s decaying Mexico City estate. Eventually, Monstrilio begins to resemble the Santiago he once was, but his innate impulses—though curbed by his biological and chosen family’s communal care—threaten to destroy this fragile second chance at life. A thought-provoking meditation on grief, acceptance, and the monstrous sides of love and loyalty, Gerardo Sámano Córdova blends bold imagination and evocative prose with deep emotional rigor. Told in four acts that span the globe from Brooklyn to Berlin, Monstrilio offers, with uncanny clarity, a cathartic and precise portrait of being human.

Natsuki isn't like the other girls. She has a wand and a transformation mirror. She might be a witch, or an alien from another planet. Together with her cousin Yuu, Natsuki spends her summers in the wild mountains of Nagano, dreaming of other worlds. When a terrible sequence of events threatens to part the two children forever, they make a promise: survive, no matter what. Now Natsuki is grown. She lives a quiet life with her asexual husband, surviving as best she can by pretending to be normal. But the demands of Natsuki's family are increasing, her friends wonder why she's still not pregnant, and dark shadows from Natsuki's childhood are pursuing her. Fleeing the suburbs for the mountains of her childhood, Natsuki prepares herself with a reunion with Yuu. Will he still remember their promise? And will he help her keep it?

Miri thinks she has got her wife back, when Leah finally returns after a deep-sea mission that ended in catastrophe. It soon becomes clear, though, that Leah is not the same. Whatever happened in that vessel, whatever it was they were supposed to be studying before they were stranded on the ocean floor, Leah has brought part of it back with her, onto dry land and into their home. Moving through something that only resembles normal life, Miri comes to realize that the life that they had before might be gone. Though Leah is still there, Miri can feel the woman she loves slipping from her grasp. Our Wives Under The Sea is the debut novel from Julia Armfield, the critically acclaimed author of Salt Slow. It’s a story of falling in love, loss, grief, and what life there is in the deep deep sea.

A bold, evocative new novel from the Sue Kaufman, Betty Trask and Plimpton Prize Award winner Isabella Hammad that follows actress Sonia as she returns to Palestine and takes a role in a West Bank production of Hamlet After years away from her family’s homeland, and reeling from a disastrous love affair, actress Sonia Nasir returns to Haifa to visit her older sister Haneen. This is her first trip back since the second intifada and the deaths of their grandparents: while Haneen made a life here commuting to Tel Aviv to teach at the university, Sonia stayed in London to focus on her acting career and now dissolute marriage. On her return, she finds her relationship to Palestine is fragile, both bone-deep and new. At Haneen’s, Sonia meets the charismatic and candid Mariam, a local director, and finds herself roped into a production of Hamlet in the West Bank. Sonia is soon rehearsing Gertude’s lines in classical Arabic and spending more time in Ramallah than in Haifa, along with a dedicated group of men from all over historic Palestine who, in spite of competing egos and priorities, each want to bring Shakespeare to that side of the wall. As opening night draws closer it becomes clear just how many violent obstacles stand before a troupe of Palestinian actors. Amidst it all, the life Sonia once knew starts to give way to the daunting, exhilarating possibility of finding a new self in her ancestral home. A stunning rendering of present-day Palestine, Enter Ghost is a story of diaspora, displacement, and the connection to be found in family and shared resistance. Timely, thoughtful, and passionate, Isabella Hammad’s highly anticipated second novel is an exquisite feat, an unforgettable story of artistry under occupation.

A prizewinning, thrillingly subversive debut novel about a woman in Japan who avoids harassment at work by perpetuating, for nine months and beyond, the lie that she's pregnant When thirty-four-year-old Ms. Shibata gets a new job in Tokyo to escape sexual harassment at her old one, she finds that, as the only woman at her new workplace--a company that manufactures cardboard tubes--she is expected to do all the menial tasks. One day she announces that she can't clear away her colleagues' dirty cups--because she's pregnant and the smell nauseates her. The only thing is . . . Ms. Shibata is not pregnant. Pregnant Ms. Shibata doesn't have to serve coffee to anyone. Pregnant Ms. Shibata isn't forced to work overtime. Pregnant Ms. Shibata rests, watches TV, takes long baths, and even joins an aerobics class for expectant mothers. But pregnant Ms. Shibata also has a nine-month ruse to keep up. Helped along by towel-stuffed shirts and a diary app on which she can log every stage of her "pregnancy," she feels prepared to play the game for the long haul. Before long, though, the hoax becomes all-absorbing, and the boundary between her lie and her life begins to dissolve. A surreal and wryly humorous cultural critique, Diary of a Void is bound to become a landmark in feminist world literature.

A fierce international bestseller that launched Korea’s new feminist movement, Kim Jiyoung, Born 1982 follows one woman’s psychic deterioration in the face of rigid misogyny. Truly, flawlessly, completely, she became that person. In a small, tidy apartment on the outskirts of the frenzied metropolis of Seoul lives Kim Jiyoung. A thirtysomething-year-old “millennial everywoman,” she has recently left her white-collar desk job—in order to care for her newborn daughter full-time—as so many Korean women are expected to do. But she quickly begins to exhibit strange symptoms that alarm her husband, parents, and in-laws: Jiyoung impersonates the voices of other women—alive and even dead, both known and unknown to her. As she plunges deeper into this psychosis, her discomfited husband sends her to a male psychiatrist. In a chilling, eerily truncated third-person voice, Jiyoung’s entire life is recounted to the psychiatrist—a narrative infused with disparate elements of frustration, perseverance, and submission. Born in 1982 and given the most common name for Korean baby girls, Jiyoung quickly becomes the unfavored sister to her princeling little brother. Always, her behavior is policed by the male figures around her—from the elementary school teachers who enforce strict uniforms for girls, to the coworkers who install a hidden camera in the women’s restroom and post their photos online. In her father’s eyes, it is Jiyoung’s fault that men harass her late at night; in her husband’s eyes, it is Jiyoung’s duty to forsake her career to take care of him and their child—to put them first. Jiyoung’s painfully common life is juxtaposed against a backdrop of an advancing Korea, as it abandons “family planning” birth control policies and passes new legislation against gender discrimination. But can her doctor flawlessly, completely cure her, or even discover what truly ails her? Rendered in minimalist yet lacerating prose, Kim Jiyoung, Born 1982 sits at the center of our global #MeToo movement and announces the arrival of writer of international significance

A prizewinning, thrillingly subversive debut novel about a woman in Japan who avoids harassment at work by perpetuating, for nine months and beyond, the lie that she's pregnant When thirty-four-year-old Ms. Shibata gets a new job in Tokyo to escape sexual harassment at her old one, she finds that, as the only woman at her new workplace--a company that manufactures cardboard tubes--she is expected to do all the menial tasks. One day she announces that she can't clear away her colleagues' dirty cups--because she's pregnant and the smell nauseates her. The only thing is . . . Ms. Shibata is not pregnant. Pregnant Ms. Shibata doesn't have to serve coffee to anyone. Pregnant Ms. Shibata isn't forced to work overtime. Pregnant Ms. Shibata rests, watches TV, takes long baths, and even joins an aerobics class for expectant mothers. But pregnant Ms. Shibata also has a nine-month ruse to keep up. Helped along by towel-stuffed shirts and a diary app on which she can log every stage of her "pregnancy," she feels prepared to play the game for the long haul. Before long, though, the hoax becomes all-absorbing, and the boundary between her lie and her life begins to dissolve. A surreal and wryly humorous cultural critique, Diary of a Void is bound to become a landmark in feminist world literature.