One of Alasdair Gray's most brilliant creations, Poor Things is a postmodern revision of Frankenstein that replaces the traditional monster with Bella Baxter - a beautiful young erotomaniac brought back to life with the brain of an infant. Godwin Baxter's scientific ambition to create the perfect companion is realized when he finds the drowned body of Bella, but his dream is thwarted by Dr. Archibald McCandless's jealous love for Baxter's creation. The hilarious tale of love and scandal that ensues would be "the whole story" in the hands of a lesser author (which in fact it is, for this account is actually written by Dr. McCandless). For Gray, though, this is only half the story, after which Bella (a.k.a. Victoria McCandless) has her own say in the matter. Satirizing the classic Victorian novel, Poor Things is a hilarious political allegory and a thought-provoking duel between the desires of men and the independence of women, from one of Scotland's most accomplished authors.

Lynn Barrett is a single mother, trying to cope with life after divorce. And her life becomes an even bigger nightmare when daughter Caitlin is diagnosed with terminal liver disease. She is put on the transplant waiting list, but there is a world shortage and most patients will die while waiting. In desperation, Lynn turns to the internet and discovers an organ broker who can provide her with a liver but it will cost Lynn £250,000. To save her daughter she mortgages her home and borrows from family and friends to raise the money. A few days later the organ broker tells Lynn she has found a young woman, a perfect match for Caitlin, who is in a coma following a car smash in Italy. Meanwhile Roy Grace is working on the case of the remains of three young people recovered from the seabed off the coast of Brighton. These remains lead him to a Romanian trafficking organization of street kids from the Eastern bloc for the UK sex trade; some of them are also traded as organ donors…

When Korede's dinner is interrupted one night by a distress call from her sister, Ayoola, she knows what's expected of her: bleach, rubber gloves, nerves of steel and a strong stomach. This'll be the third boyfriend Ayoola's dispatched in, quote, self-defence and the third mess that her lethal little sibling has left Korede to clear away. She should probably go to the police for the good of the menfolk of Nigeria, but she loves her sister and, as they say, family always comes first. Until, that is, Ayoola starts dating the doctor where Korede works as a nurse. Korede's long been in love with him, and isn't prepared to see him wind up with a knife in his back: but to save one would mean sacrificing the other... My Sister, the Serial Killer is a blackly comic novel about how blood is thicker - and more difficult to get out of the carpet - than water...

One morning, Jessa-Lynn Morton walks into the family taxidermy shop to find that her father has committed suicide, right there on one of the metal tables. Shocked and grieving, Jessa steps up to manage the failing business, while the rest of the Morton family crumbles. Her mother starts sneaking into the shop to make aggressively lewd art with the taxidermied animals. Her brother Milo withdraws, struggling to function. And Brynn, Milo’s wife—and the only person Jessa’s ever been in love with—walks out without a word. As Jessa seeks out less-than-legal ways of generating income, her mother’s art escalates—picture a figure of her dead husband and a stuffed buffalo in an uncomfortably sexual pose—and the Mortons reach a tipping point. For the first time, Jessa has no choice but to learn who these people truly are, and ultimately how she fits alongside them.

A con artist can make you feel like the luckiest person on earth just to be in their presence. But when the jig is up, they ghost, and you’re left wondering if you ever mattered After the death of her wife, Shelby feels more alone than ever—until she meets Cammie, a charismatic woman unafraid of what anyone else thinks and whose own history of trauma draws Shelby close. When Cammie is fired from her job and admits she is in treatment for kidney cancer, Shelby devotes all her time to helping Cammie thrive. But Shelby’s intuition tells her there are things about Cammie’s past that don’t add up. Could the realest thing about Cammie be that she’s actually a scammer? Gibson is almost forty, fresh from a divorce and deeply depressed. Then he meets and falls in love with Cammie. Suddenly, he’s having the best sex of his life with a woman so attractive he’s stunned she even glanced his way, and for the first time ever he feels truly known. This is the kind of desire and passion that musicians have been writing love songs about for centuries. But Gibson’s friends are wary of Cammie, and eventually he too has to admit that Cammie’s dramatic life can feel a bit over the top. When Shelby and Gibson find out Cammie is a pathological liar, they struggle to understand what they really want from her—sometimes they want to help her heal from whatever causes her to invent reality, and sometimes they want revenge. But the biggest question of all is: how honest can Shelby and Gibson be about their own characters?

In the vein of bestselling memoirs about mental illness like Andrew Solomon's Noonday Demon, Sarah Hepola's Blackout, and Daniel Smith's Monkey Mind comes a gorgeously immersive, immediately relatable, and brilliantly funny memoir about living life on the razor's edge of panic. The world never made any sense to Amanda Stern--how could she trust time to keep flowing, the sun to rise, gravity to hold her feet to the ground, or even her own body to work the way it was supposed to? Deep down, she knows that there's something horribly wrong with her, some defect that her siblings and friends don't have to cope with. Growing up in the 1970s and '80s in New York, Stern experiences the magic and madness of life through the filter of unrelenting panic. Plagued with fear that her friends and family will be taken from her if she's not watching--that her mother will die, or forget she has children and just move away--Stern treats every parting as her last. Shuttled between a barefoot bohemian life with her mother in Greenwich Village, and a sanitized, stricter world of affluence uptown with her father, Stern has little she can depend on. And when Etan Patz disappears down the block from their MacDougal Street home, she can't help but believe that all her worst fears are about to come true. Tenderly delivered and expertly structured, Stern's memoir is a document of the transformation of New York City and a deep, personal, and comedic account of the trials and errors of seeing life through a very unusual lens.

THE SERIAL KILLER ISN'T ON TRIAL. HE'S ON THE JURY ... **************** 'To your knowledge, is there anything that would preclude you from serving on this jury?' Murder wasn't the hard part. It was just the start of the game. Joshua Kane has been preparing for this moment his whole life. He's done it before. But this is the big one. This is the murder trial of the century. And Kane has killed to get the best seat in the house. But there's someone on his tail. Someone who suspects that the killer isn't the man on trial. Kane knows time is running out - he just needs to get to the conviction without being discovered. **************** THIRTEEN REASONS WHY ... YOU MUST READ THIS BOOK: 'An oh so clever hook for an oh so clever, gripping book. THIRTEEN is courtroom drama at its finest, blended with page-turning twists and characters you can't get enough of. Steve Cavanagh is the John Grisham for a new generation. Slick, thrilling and unique, THIRTEEN is my favourite read of the year.' Sarah Pinborough 'Outstanding - an intriguing premise, a tense, gripping build-up, and a spectacular climax. This guy is the real deal. Trust me.' Lee Child 'Smart and original. This is a belter of a book.' Clare Mackintosh 'Great hook. Great plot. Great book. Thirteen is a real page turner and one you won't want to put down.' Simon Kernick 'A brilliant, twisty, ingeniously constructed puzzle of a book. Steve Cavanagh pulls off an enviable premise with panache.' Ruth Ware 'I've been tracking Steve Cavanagh for a few years now and Thirteen is his best, a dead bang beast of a book that expertly combining his authority on the law with an absolutely great thrill ride. Books this ingenious don't come along very often.' Michael Connelly 'Quite simply deserves to be HUGE. If you read a thriller as good this year, it's only because you've read this one twice.' Mark Billingham 'Tore through this between dusk and dawn. Absolute 5-star cracker from Steve Cavanagh, who's gotta be among top legal thriller writers out there nowadays. A powerhouse of a book that's much more than its high-concept hook.' Craig Sisterson 'Wow! This book is friggin' awesome! Utterly immersive.' Emma Kavanagh 'Fantastically gripping? Guilty as charged!' Angela Clarke 'An absolute cracker.' Susi Holliday 'Guilty of thrills, twists, and expertly manipulating the reader.' Mason Cross 'An absolute rollercoaster of a read. Thrilling.' Cass Green

I Haven’t Been Entirely Honest With You. I know – what an intriguing title! Basically, I have had an unexpectedly difficult decade – there have been surprising joys, but also deep revelations and challenging lows. I shall be honest about those, because what I discovered in the difficult times were my, what I call, treasures. Treasures – practical tools, values, ways, answers researched from some great scientists, neuroscientists, therapists, sociologists (all the ‘ists’) out there, that have genuinely led to a sense of freedom, joy, peace and physical recovery I never would have thought possible. Life now, amazingly, with what I will share, is – SUCH FUN! (always important to quote your own catch phrases. . .) If you fancy having a read, then I hope my story might help your story. After all, we are in this beautiful, mysterious, challenging life together. Rest assured there are funny stories along the way – we will have a laugh too, my dear reader chum. Oh, and I couldn’t possibly say if there is a love story in it . . . (There is - shush) Exciting.