In an isolated chateau, as far north as north goes, the baron’s doctor has died. The doctor’s replacement has a mystery to solve: discovering how the Institute lost track of one of its many bodies.For hundreds of years the Interprovincial Medical Institute has grown by taking root in young minds and shaping them into doctors, replacing every human practitioner of medicine. The Institute is here to help humanity, to cure and to cut, to cradle and protect the species from the apocalyptic horrors their ancestors unleashed.In the frozen north, the Institute's body will discover a competitor for its rung at the top of the evolutionary ladder. A parasite is spreading through the baron's castle, already a dark pit of secrets, lies, violence, and fear. The two will make war on the battlefield of the body. Whichever wins, humanity will lose again.

Under eternally gray skies the Wetworks harvests nutritious waste from the “Root”, the only plant humanity found after we fled through a gate to escape our home world’s ecological collapse. When a bloody accident at the sawmill births a new kind of person, this strange realm finally has someone who transcends the sins of the last one. Every petal and stalk of the Root is listening and whispering. Through this transfigured being, Jon Heap, we can hear what the all-plant says. We already depend on the Root, but it wants to give us something new: fresh fruit our priests will bless, our farmers will reap, and our mothers will bear. The Root will alter our bodies as it desires and despite the pain we will call it a miracle.

In this Appalachian horror novel, two estranged siblings become trapped in a convenience store under attack by a monster from the mountains who feasts on guilty hearts. Rattle, rattle in the dark… The mountain’s bones seek out a heart. Jane has not spoken to her brother Thomas since the accident that nearly killed them both. Their drive from college through the North Georgia mountains is uncomfortably silent, until they stop at a roadside convenience store, where a man stumbles in with a mutilated body, claiming to have been attacked by a monster. At first, no one believes the man’s ravings, but when the next person to leave the store is brutally killed, they fear that local legend might be There’s a beast in these mountains who feasts on guilty hearts… and someone among them has lured it out of hiding. Jane and Thomas each harbor secrets, but so do the other patrons, and as the monster claims more hearts, the survivors turn on each other, desperate to save themselves by uncovering the guiltiest among them. If the siblings can’t overcome the rift between them, they’ll surely become the monster’s next victims…or worse, become monsters themselves.

Introduced by Carmen Maria Machado, the radical dystopian classic, lost for forty years: in a nightmarish through-a-glass-darkly Britain, they are coming closer . 'I remembered how they began, a parody for the newspapers. No one wrote about them now.' Life on the windswept Sussex coast goes on as it has for centuries. But this is England through-a-glass-darkly. They are coming closer. It begins with a dead dog, shadowy footsteps, confiscated books. The National Gallery is cleared; motorway checkpoints demarcate Areas; the Art Centres are raided. The surviving writers, artists, and thinkers become cultural refugees, preserving their crafts, creating, loving, and remembering. But as subversives are gleaned by military surveys, cured of identity, desensitised in retreats, they make it easier to forget ... Lost for over forty years, Kay Dick's They is an electrifying literary artefact. As enigmatic as a nightmare, it is a cry from the soul against censorship and conformity, a radical celebration of queerness and self-expression - and a warning.

He was sent to kill a pest. Instead, he found a monster. Enter the decadent, deadly city of Tiliard, carved into the stump of an ancient tree. In its canopy, the pampered elite warp minds with toxic perfume; in its roots, gangs of exterminators hunt a colossal worm with an appetite for beauty. In a complex, chaotic city, Guy Moulène has a simple keep his sister out of debt. For her sake, he'll take on any job, no matter how vile.As an exterminator, Guy hunts the uncanny pests that crawl up from the river. These vermin are all strange, and often dangerous. His latest quarry is a worm the size of a dragon with a deadly venom and a ravenous taste for artwork. As it digests Tiliard from the sewers to the opera houses, its toxin reshapes the future of the city. No sane person would hunt it, if they had the choice. Guy doesn't have a choice.

Breigh is a hot elder millennial who is obsessed with the brands she is ambassading for. Her policy is YES, and her livestreams are viral. But she’s pregnant now, and her body’s changing. It's not that she's hungry. She's definitely not depressed. She just sometimes eats boxes of makeup before passing out. Daddy’s bought a brand new home for Breigh and Baby, complete with a Greenguard Gold-certified, twice-imported velvet infant chaise — but is he cheating on her with a hotter, younger coworker? Breigh has to get Baby out before it ruins her. She has to create more and better content than the other momfluencers. She has to unbox something new. She has to unbox … Baby! Baby approves of her seven-step marketing plan. Welcome to #LiveBirth. Breigh’s increasingly unhinged life reflects her generation’s anxieties around psychological manipulation through social media platforms. Multi-award-winning author Sara Cooper presents a wild debut novel in this incisive satire of consumerism, performative femininity, and social media.

“Carnalis is a poetic feast, a lean yet satisfying contribution to the cannibal subgenre. This addictive novella hums with a primal energy that reminds you how animalistic and predatory society can be. Frightening, prescient, and vibrating with an all consuming intensity, Carnalis will be savored for years to come.” -Grant Wamack, author of God’s Leftovers “Don't dismiss Carnalis as 'merely' a cannibal novella—it positively sizzles with commentary on class, race, gender identities, sexuality, eating disorders, mental health, religion, late-stage capitalism, and more, all delivered in a beautiful, lyrical, haunting prose that leaves you hungry for more. But of course it does; it's from Tiffany Morris. I'm not sure a steak will ever taste the same.” -Lauren McMenemy of HorrorTree and the Writing the Occult event series “Carnalis, by Tiffany Morris, is immediately engaging, fun and gross, every sentence a fleshy nod to the human body, and you'll worry more for Alex as Lauren becomes increasingly unpleasant to be around (the ending had me biting my nails). Also is it wrong that I got hungry despite being vegetarian? And not a cannibal?” -Madeleine Swann, author of Reality but More Fun “In delicious prose, Tiffany Morris delves deep into the horrors of toxic relationships. A masterful investigation of embodied trauma, class exploitation, and cultural colonialism, this all-meat story gives the reader plenty to chew on. As tender as it is disturbing, Carnalis will leave you hungry for more.” -Brittni Brinn, author of Misplaced

When Laura Willowes’s beloved father dies, she is absorbed in the household of her brother and his family. There, she leaves behind “Laura” and enters into the state of “Aunt Lolly,” a genteel spinster indispensable to the upbringing of her nieces. For twenty years, Lolly is neither indulgent nor impulsive, until one day when she decides to move to a village in the Chilterns, much to her family’s chagrin.   But it’s in the countryside, among nature, where Lolly has her first taste of freedom. Duty-bound to no one except herself, she revels in the solitary life. When her nephew moves there, and Lolly feels once again thrust into her old familial role, she reaches out to the otherworldly, to the darkness, to the unheeded power within the hearts of women to feel at peace once more . . .

Marguerite has been locked in the attic of her family home, a disintegrating Chelsea house overlooking the stench of the Thames. For company she a sewing machine, a copy of Mrs Beeton’s Book of Household Management and trays of congealing food carried up to her with little regularity. Marguerite has been confined by her mother, Cécile, who is concerned about her engagement to an older, near-penniless solicitor, Mr Lewis, and wishes to educate her daughter on ‘proper’ married conduct – lest she drag the family’s good name into disrepute. But why is Marguerite pursuing the aged Mr Lewis in the first place? Why are her mother’s visits seemingly becoming less frequent? And just how much time has passed since the lock closed on the attic’s hatch?Carrion Crow is a transportive and gloriously gothic commentary on the constraints of polite society – and the even greater danger of conformity – that unfurls one family’s festering secrets.

Slaughterhouse-Five, an American classic, is one of the world’s great antiwar books. Centering on the infamous World War II firebombing of Dresden, the novel is the result of what Kurt Vonnegut described as a twenty-three-year struggle to write a book about what he had witnessed as an American prisoner of war. It combines historical fiction, science fiction, autobiography, and satire in an account of the life of Billy Pilgrim, a barber’s son turned draftee turned optometrist turned alien abductee. As Vonnegut had, Billy experiences the destruction of Dresden as a POW. Unlike Vonnegut, he experiences time travel, or coming “unstuck in time.” An instant bestseller, Slaughterhouse-Five made Kurt Vonnegut a cult hero in American literature, a reputation that only strengthened over time, despite his being banned and censored by some libraries and schools for content and language. But it was precisely those elements of Vonnegut’s writing—the political edginess, the genre-bending inventiveness, the frank violence, the transgressive wit—that have inspired generations of readers not just to look differently at the world around them but to find the confidence to say something about it. Fifty years after its initial publication at the height of the Vietnam War, Vonnegut's portrayal of political disillusionment, PTSD, and postwar anxiety feels as relevant, darkly humorous, and profoundly affecting as ever, an enduring beacon through our own era’s uncertainties.