Five New Yorkers must come together in order to defend their city. Every city has a soul. Some are as ancient as myths, and others are as new and destructive as children. New York City? She's got five. But every city also has a dark side. A roiling, ancient evil stirs beneath the earth, threatening to destroy the city and her five protectors unless they can come together and stop it once and for all.

When an influx of fairy fruit creates havoc in Lud-in-the-Mist, a merchant village situated where the rivers the Dawl and the Dapple meet in the Free State of Dorimare, the conventional, rule-abiding citizens must grapple with a previously unthinkable solution. The Dapple springs from the bordering land of Faerie—a country of fantastic inhabitants viewed by the tradition-bound people of Lud-in-the-Mist with fear and suspicion. When the effects of fairy fruit and the creatures of Faerie can no longer be ignored, the stolid mayor of Lud-in-the-Mist, Nathaniel Chanticleer, undergoes radical rethinking and emerges as an unlikely leader of change. A classic of fantasy fiction, Lud-in-the-Mist has had a diffuse but indelible influence on the genre and has inspired such authors as Neil Gaiman, Mary Gentle, Elizabeth Hand, Johanna Russ, and Tim Powers. This Warbler Classics edition includes a detailed biographical timeline.

Writer-actor Mara Wilson navigates the good-girl-versus- bad-girl tropes from early childhood through adolescence and teen life. Good Girls Don’t is a coming-of- age memoir that bravely examines both the friendships Wilson formed as a child actor in Hollywood and the complex family relationships that shaped her. Looking back on her experiences on and off the set of notable family-friendly films including Matilda, Mrs. Doubtfire, Miracle on 34th Street, and A Simple Wish, Wilson shares the challenges and joys of growing up in the public eye while enduring the very personal grief of losing her mother to cancer when she was just eight. She describes periods of acting out to assuage her own sadness, as her contentious grandmother stepped in and her hardworking, grief-stricken father grappled with raising a young daughter and her four siblings. Wilson also shares intimate thoughts about religion and her struggle to adhere to the learned family values of her “Conservadox” upbringing while exploring clandestine friendships, such as with “bad girl” classmate Skye, that went against the “good” behavior her parents tried to instill in her. We discover the TV shows, films, and risqué pop and rock music that influenced her and hear fascinating, hilarious details of life on movie sets as seen from the perspective of a highly intelligent and emotionally vulnerable child. And, as Wilson seeks to discard a people-pleasing mentality, she digs into past experiences with fans. We learn about the challenges of maintaining a significant fan base — including her complicated relationship with Edward, the college-age young man who administered a website to engage them — in addition to the ongoing anxiety over others’ opinions of how any move she made would be perceived. With the transition to adulthood, Wilson reflects on the moments that led up to this next phase of her life. Forging solid friendships as a theater student at New York University, she begins to accept her extraordinary past while finally realizing what being “good” means to her.

The followup novel to International Booker-shortlisted Boulder is a story of queer motherhood and survival deep in the countryside Mammoth ’s protagonist is a disenchanted young lesbian. She’s inexperienced, irritated by life, eager to gestate, and determined to strip everything else down to essentials. She seduces men at random, swaps her urban habitat for an isolated farmhouse, befriends a shepherd, nurses lambs, battles stray cats, waits tables, cleans house, and dabbles in sex work—all in pursuit of life in the raw.  This small bomb of a novel, not remotely pastoral, builds to a howling crescendo of social despair, leaving us at the mercy of Eva Baltasar’s wild voice.