The fiercest, most powerful novel of 2025. For what do you hunger . . .?Lenore is the wife of steel magnate Henry, but ten years into their marriage the relationship has soured, and no child has arrived to fill the distance growing between them. Henry's ambitions take them from London to Sheffield, and with his success hinged on a hunt, an old tradition looms over the home; the hunt is a time to settle old scores. If a bullet finds a human home, then it is only that they were foolish to become prey. In the weeks leading up to the hunt, a carriage accident near their remote home brings the mysterious Carmilla into Lenore's life. Carmilla, who is weak and pale during the day but vibrant at night, Carmilla who will not eat meals with the family, Carmilla who stirs up a hunger deep within Lenore. Soon girls from local villages begin to fall sick before being consumed by a terrible hunger . . .Set against the violent wilderness of the Peaks and the uncontrolled appetite of the industrial revolution HUNGERSTONE is a compulsive feminist reworking of CARMILLA, the book that inspired a captivating story of appetite and desire.

The Last of Us meets The Ballad of Songbirds and Snakes in this standalone dystopian romance about survival, sacrifice, and love that risks everything. By encouraging massive accumulations of debt from its underclass, a single corporation, Caerus, controls all aspects of society. Inesa lives with her brother in a half-sunken town where they scrape by running a taxidermy shop. Unbeknownst to Inesa, their cruel and indolent mother has accrued an enormous debt—enough to qualify one of her children for Caerus’s livestreamed assassination spectacle: the Lamb’s Gauntlet. Melinoë is a Caerus assassin, trained to track and kill the sacrificial Lambs. The product of neural reconditioning and physiological alteration, she is a living weapon, known for her cold brutality and deadly beauty. She has never failed to assassinate one of her marks. When Inesa learns that her mother has offered her as a sacrifice, at first she despairs—the Gauntlet is always a bloodbath for the impoverished debtors. But she’s had years of practice surviving in the apocalyptic wastes, and with the help of her hunter brother, she might stand a chance of staying alive. For Melinoë, this is a game she can’t afford to lose. Despite her reputation for mercilessness, she is haunted by painful flashbacks. After her last Gauntlet, where she broke down on livestream, she desperately needs redemption. As Mel pursues Inesa across the wasteland, both girls begin to question everything: Inesa wonders if there’s more to life than survival, while Mel wonders if she’s capable of more than killing. And both wonder if, against all odds, they might be falling in love.

When Dorothy triumphed over the Wicked Witch of the West in L. Frank Baum's classic tale we heard only her side of the story. But what about her arch-nemesis, the mysterious Witch? Where did she come from? How did she become so wicked? And what is the true nature of evil? Gregory Maguire creates a fantasy world so rich and vivid that we will never look at Oz the same way again. Wicked is about a land where animals talk and strive to be treated like first-class citizens, Munchkinlanders seek the comfort of middle-class stability, and the Tin Man becomes a victim of domestic violence. And then there is the little green-skinned girl named Elphaba, who will grow up to become the infamous Wicked Witch of the West, a smart, prickly, and misunderstood creature who challenges all our preconceived notions about the nature of good and evil. An astonishingly rich re-creation of the land of Oz, this book retells the story of Elphaba, the Wicked Witch of the West, who wasn't so wicked after all. Taking readers past the yellow brick road and into a phantasmagoric world rich with imagination and allegory, Gregory Maguire just might change the reputation of one of the most sinister characters in literature.

If on a Winter's Night a Traveler is a marvel of ingenuity, an experimental text that looks longingly back to the great age of narration—"when time no longer seemed stopped and did not yet seem to have exploded." Italo Calvino's novel is in one sense a comedy in which the two protagonists, the Reader and the Other Reader, ultimately end up married, having almost finished If on a Winter's Night a Traveler. In another, it is a tragedy, a reflection on the difficulties of writing and the solitary nature of reading. The Reader buys a fashionable new book, which opens with an exhortation: "Relax. Concentrate. Dispel every other thought. Let the world around you fade." Alas, after 30 or so pages, he discovers that his copy is corrupted, and consists of nothing but the first section, over and over. Returning to the bookshop, he discovers the volume, which he thought was by Calvino, is actually by the Polish writer Bazakbal. Given the choice between the two, he goes for the Pole, as does the Other Reader, Ludmilla. But this copy turns out to be by yet another writer, as does the next, and the next. The real Calvino intersperses 10 different pastiches—stories of menace, spies, mystery, premonition—with explorations of how and why we choose to read, make meanings, and get our bearings or fail to. Meanwhile the Reader and Ludmilla try to reach, and read, each other. If on a Winter's Night is dazzling, vertiginous, and deeply romantic. "What makes lovemaking and reading resemble each other most is that within both of them times and spaces open, different from measurable time and space."

A small-town waitress and a Hollywood star’s worlds collide in this new romance by Ashley Herring Blake, USA Today bestselling author of Iris Kelly Doesn’t Date. Once upon a time, Ramona Riley was a student at a prestigious art school, with dreams of landing in Hollywood as a costume designer to the stars. But after her father’s car accident, she had to quit and return to her small New Hampshire town, Clover Lake, to help take care of her younger sister. Twelve years later, Ramona is still working at the town’s café, all but given up on her dream. But when a big-budget romantic comedy comes to Clover Lake to film, she wonders if this could be her chance. There’s only one problem—Dylan Monroe, her first kiss and Hollywood’s favorite wild child—is the star. Dylan Monroe has always lived an unconventional life, having famous rock icons for parents. But she wants to prove that she’s not some chaotic, talentless nepo baby, that she has actual skills, that she’s just a normal person. To do that, Dylan takes on a project at a charming lake town—she even works at the town’s café (very quaint), shadowing a local waitress there (very cute), and asks her to take Dylan around to do Normal People Things. But Dylan soon realizes it’s not just some small-town waitress she’s getting to know—Ramona Riley is someone she’s met before, someone who remembers her even more vividly. Before long, however, reality hits them, and both women must decide if the spark between them can fan the flames of their individual dreams, or if it will extinguish their light.

When Dorothy triumphed over the Wicked Witch of the West in L. Frank Baum's classic tale we heard only her side of the story. But what about her arch-nemesis, the mysterious Witch? Where did she come from? How did she become so wicked? And what is the true nature of evil? Gregory Maguire creates a fantasy world so rich and vivid that we will never look at Oz the same way again. Wicked is about a land where animals talk and strive to be treated like first-class citizens, Munchkinlanders seek the comfort of middle-class stability, and the Tin Man becomes a victim of domestic violence. And then there is the little green-skinned girl named Elphaba, who will grow up to become the infamous Wicked Witch of the West, a smart, prickly, and misunderstood creature who challenges all our preconceived notions about the nature of good and evil. An astonishingly rich re-creation of the land of Oz, this book retells the story of Elphaba, the Wicked Witch of the West, who wasn't so wicked after all. Taking readers past the yellow brick road and into a phantasmagoric world rich with imagination and allegory, Gregory Maguire just might change the reputation of one of the most sinister characters in literature.

Robin Sloan expands the Penumbraverse to new reaches of time and space in a rollicking far-future adventure. In Moonbound, Robin Sloan has written a novel with the full scope and ambitious imagination of the very books that lit the engines of Mr. Penumbra’s 24-Hour Bookstore: an epic quest as only Sloan could conceive it, mixing science fiction, fantasy, good old-fashioned literary storytelling, and unrivaled enthusiasm for what’s next. It is thirteen thousand years from now . . . A lot has happened, and yet a lot is still very familiar. Ariel is a boy in a small town under a wizard’s rule. Like many adventurers before him, Ariel is called to explore a world full of unimaginable glories and unknown enemies, a mission to save the world, a girl. Here, as they say, be dragons. But none of this happens before Ariel comes across an artifact from an earlier civilization, a sentient, record-keeping artificial intelligence that carries with it the perspective of the whole of human history―and becomes both Ariel’s greatest ally and the narrator of our story. Moonbound is an adventure into the richest depths of Story itself. It is a deeply satisfying epic of ancient scale, blasted through the imaginative prism one of our most forward-thinking writers. And this is only the beginning.

Renata Adler’s Speedboat for the TikTok generation, Flat Earth follows a young woman struggling with the artistic success of her more privileged, beautiful best friend, while trying to make her own art and find fulfillment under late capitalism in AmericaAvery is a young woman attending grad school in New York, working on a collection of cultural reports and flailing financially and emotionally. Having grown up in a dysfunctional family, in which she was made to take care of her parents, she now seeks to be taken care of—and even infantilized—which she plays out by dating older men for money, and others for the oblivion their egos offer. In an act of desperation (and possibly hallucination—she had taken a fair amount of Ambien that night) Avery applies for and secures a job at a right wing dating app. The "reports" she is tasked to write for the startup eventually merge with her dissertation, resulting in a metafictional text that reveals itself on these very pages.Meanwhile, Avery's best friend Frances, an effortlessly chic emerging filmmaker from a wealthy family in the South, drops out of grad school, gets married, and somehow still manages to finish her first feature Flat Earth. Frances' triumphant return to New York as the toast of the art world and literati sends Avery on a final tailspin, pushing her to make some of her most devastating decisions, but also ultimately bringing her back to her authentic self. Flat Earth is a coming-of-age story about America and about New York, a metafictional novel about transactionality, conspiracy theories, mimetic desire, and the difficulties of female friendship that’s as sharp and ironic as it is sneakily heartbreaking. As Leslie Jamison says, "I read this book in a night, breathless and enraptured; wanting to save everyone in it, and wanting to watch them burn forever.”

Tracy Flick is a hardworking assistant principal at a public high school in suburban New Jersey. Still ambitious but feeling a little stuck and underappreciated in midlife, Tracy gets a jolt of good news when the longtime principal, Jack Weede, abruptly announces his retirement, creating a rare opportunity for Tracy to ascend to the top job. Energized by the prospect of her long-overdue promotion, Tracy throws herself into her work with renewed zeal, determined to prove her worth to the students, faculty, and School Board, while also managing her personal life—a ten-year-old daughter, a needy doctor boyfriend, and a burgeoning meditation practice. But nothing ever comes easily to Tracy Flick, no matter how diligent or qualified she happens to be. Her male colleagues’ determination to honor Vito Falcone—a star quarterback of dubious character who had a brief, undistinguished career in the NFL—triggers memories for Tracy and leads her to reflect on the trajectory of her own life. As she considers the past, Tracy becomes aware of storm clouds brewing in the present. Is she really a shoo-in for the principal job? Is the Superintendent plotting against her? Why is the School Board President’s wife trying so hard to be her friend? And why can’t she ever get what she deserves?

Eve Fletcher is floundering. A forty-six-year-old divorcee whose beloved, clueless only child has just left for college, Eve is slowly learning to contend with life on her own when, late one night her phone lights up with a text message. Sent from an anonymous number, the mysterious sender tells Eve, “U r my MILF!” It's nothing--just an annoying prank--but she can't get it out of her head. As Eve makes new friends, takes a community college course in Gender Studies, and reaches out to a younger co-worker, the message continues to haunt her, leading her into an online fixation that threatens to upend her quiet suburban existence. Meanwhile, Eve’s son Brendan, is discovering that the oafish frat-boy charm that impressed high school girls may not be so enticing to college women. Increasingly isolated, with mediocre grades and a confusing crush on a softball-playing social justice champion, Brendan struggles to adjust to a campus ill disposed to his brand of white-dude bravado. As the New England autumn turns cold, both mother and son find themselves enmeshed in ethically fraught situations that come to a head one fateful November night. A coming-of-age novel about the sexual awakening of a middle-aged woman, Mrs. Fletcher is a provocative, witty look at contemporary sexual politics and timeless moral dilemmas--a moving and funny examination of sexuality, identity, and the big clarifying mistakes people can make when they're no longer sure who they are and where they belong.

A suburban New Jersey high school teacher confronts a student-body election gone haywire in this darkly comic novel by the author of The Wishbones. Scheduled for release as a feature film in 1998, starring Matthew Broderick.Who really cares who gets elected President of Winwood High School? Nobody -- except Tracy Flick. Tracy's one of those students of boundless energy and ambition who somehow finds the time to do everything -- edit the school paper, star in the musical, sleep with her favorite teacher. Her heart is set on becoming President of Winwood, and what Tracy wants, Tracy gets. With weeks to go before election day, her victory is nearly a foregone conclusion. And that's just the problem, according to Mr. M -- a.k.a. Jim McAllister, faculty, advisor to the Student Government Association and a popular Winwood history teacher. In the name of democracy -- not to mention a simmering grudge against Tracy Flick -- Mr. M recruits the perfect opposition candidate. Paul Warren is a golden boy, a football hero with a brain and a heart, eager to bulk up his meager resume. As Winwood High experiences election fever, Mr. M is distracted by a sudden attraction to his wife's best friend. The two dramas he has created -- one personal and private, the other public and political -- unfurl simultaneously, with all the players sharing in a life-altering conclusion. Part satire, part soap opera, Election is an uncommon look at an ordinary American high school, and the extraordinary people who inhabit it.

Joe Kavalier, a young Jewish artist who has also been trained in the art of Houdini-esque escape, has just smuggled himself out of Nazi-invaded Prague and landed in New York City. His Brooklyn cousin Sammy Clay is looking for a partner to create heroes, stories, and art for the latest novelty to hit America - the comic book. Drawing on their own fears and dreams, Kavalier and Clay create the Escapist, the Monitor, and Luna Moth, inspired by the beautiful Rosa Saks, who will become linked by powerful ties to both men. With exhilarating style and grace, Michael Chabon tells an unforgettable story about American romance and possibility.

"The Corrections" is a grandly entertaining novel for the new century - a comic, tragic masterpiece about a family breaking down in an age of easy fixes. After almost fifty years as a wife and mother, Enid Lambert is ready to have some fun. Unfortunately, her husband, Alfred, is losing his sanity to Parkinson's disease, and their children have long since flown the family nest to the catastrophes of their own lives. The oldest, Gary, a once-stable portfolio manager and family man, is trying to convince his wife and himself, despite clear signs to the contrary, that he is not clinically depressed. The middle child, Chip, has lost his seemingly secure academic job and is failing spectacularly at his new line of work. And Denise, the youngest, has escaped a disastrous marriage only to pour her youth and beauty down the drain of an affair with a married man - or so her mother fears. Desperate for some pleasure to look forward to, Enid has set her heart on an elusive goal: bringing her family together for one last Christmas at home. Stretching from the Midwest at midcentury to the Wall Street and Eastern Europe of today, "The Corrections" brings an old-fashioned world of civic virtue and sexual inhibitions into violent collision with the era of home surveillance, hands-off parenting, do-it-yourself mental healthcare, and globalised greed. Richly realistic, darkly hilarious, deeply humane, it confirms Jonathan Franzen as one of our most brilliant interpreters of American society and the American soul.

If on a Winter's Night a Traveler is a marvel of ingenuity, an experimental text that looks longingly back to the great age of narration—"when time no longer seemed stopped and did not yet seem to have exploded." Italo Calvino's novel is in one sense a comedy in which the two protagonists, the Reader and the Other Reader, ultimately end up married, having almost finished If on a Winter's Night a Traveler. In another, it is a tragedy, a reflection on the difficulties of writing and the solitary nature of reading. The Reader buys a fashionable new book, which opens with an exhortation: "Relax. Concentrate. Dispel every other thought. Let the world around you fade." Alas, after 30 or so pages, he discovers that his copy is corrupted, and consists of nothing but the first section, over and over. Returning to the bookshop, he discovers the volume, which he thought was by Calvino, is actually by the Polish writer Bazakbal. Given the choice between the two, he goes for the Pole, as does the Other Reader, Ludmilla. But this copy turns out to be by yet another writer, as does the next, and the next. The real Calvino intersperses 10 different pastiches—stories of menace, spies, mystery, premonition—with explorations of how and why we choose to read, make meanings, and get our bearings or fail to. Meanwhile the Reader and Ludmilla try to reach, and read, each other. If on a Winter's Night is dazzling, vertiginous, and deeply romantic. "What makes lovemaking and reading resemble each other most is that within both of them times and spaces open, different from measurable time and space."

A vibrant narrative history of three hallowed Manhattan blocks—the epicenter of American cool. St. Marks Place in New York City has spawned countless artistic and political movements. Here Frank O’Hara caroused, Emma Goldman plotted, and the Velvet Underground wailed. But every generation of miscreant denizens believes that their era, and no other, marked the street’s apex. This idiosyncratic work of reportage tells the many layered history of the street—from its beginnings as Colonial Dutch Director-General Peter Stuyvesant’s pear orchard to today’s hipster playground—organized around those pivotal moments when critics declared “St. Marks is dead.” In a narrative enriched by hundreds of interviews and dozens of rare images, St. Marks native Ada Calhoun profiles iconic characters from W. H. Auden to Abbie Hoffman, from Keith Haring to the Beastie Boys, among many others. She argues that St. Marks has variously been an elite address, an immigrants’ haven, a mafia warzone, a hippie paradise, and a backdrop to the film Kids—but it has always been a place that outsiders call home. This idiosyncratic work offers a bold new perspective on gentrification, urban nostalgia, and the evolution of a community.