Have you ever aspired to gain linguistic immortality by making up a word? Many people — such famous writers as Jonathan Swift, Lewis Carroll, and Dr. Seuss, along with many lesser-knowns — have coined new words that have endured. But most of the new words people put forward fail to find favor. Why are some new words adopted, while others are ignored? Allan Metcalf explores this question in his fascinating look at new-word creation. In surveying past coinages and proposed new words, Metcalf discerns lessons for linguistic longevity. He shows us, for instance, why the humorist Gelett Burgess succeeded in contributing the words blurb and bromide to the language but failed to win anyone over to bleesh or diabob. Metcalf examines terms invented to describe political causes and social phenomena (silent majority, Gen-X), terms coined in books (edge city, Catch-22), brand names and words derived from them (aspirin, Ping-Pong), and words that derive from misunderstandings (cherry, kudo). He develops a scale for predicting the success of newly coined words and uses it to foretell which emerging words will outlast the twenty-first century. In this highly original work, Metcalf shows us how to spin syllabic straw into linguistic gold.

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.

Perfect for fans of Ace of Spades and The Taking of Jake Livingston, this young adult horror debut is told in dual timelines, following a group of teens as they visit an abandoned school for troubled youth and then return two years later to confront the supernatural evil they awoke there. Two years ago, Riley visited the abandoned and allegedly haunted religious reform school Dominic House with his boyfriend, Ethan, and his best friends, Colton and Vee. Ethan never came out. Colton’s leg will never quite heal, Vee is branded as hysterical, and Riley has horrific scars as a reminder of that night. Now, at eighteen, Riley hasn’t exactly moved on, but he’s kept away from all things paranormal. Until legendary ghost chaser Jordan Jones shows up with an offer: return to Dominic House with her to film an episode of her Spirit Seekers TV show. Riley may have vowed never to return, but he has unfinished business at Dominic House. With a reluctant Colton and Vee at his side, Riley is determined to find out what happened to Ethan once and for all. But as the night wears on, Riley realizes he isn’t just revisiting the most terrifying night of his life— he’s reliving it. With an eerily elegant voice, dual timelines that slowly unravel a chilling ghost story, themes of religious trauma, and secrets in every corner, Trespass Against Us is the kind of horror story that will keep you up long into the night.

Charles Baxter inaugurates The Art of, a new series on the craft of writing, with the wit and intelligence he brought to his celebrated book Burning Down the House: Essays on Fiction. Fiction writer and essayist Charles Baxter's The Art of Subtext: Beyond Plot discusses and illustrates the hidden subtextual overtones and undertones in fictional works haunted by the unspoken, the suppressed, and the secreted. Using an array of examples from Melville and Dostoyevsky to contemporary writers Paula Fox, Edward P. Jones, and Lorrie Moore, Baxter explains how fiction writers create those visible and invisible details, how what is displayed evokes what is not displayed. The Art of Subtext is part of The Art of series, a new line of books by important authors on the craft of writing, edited by Charles Baxter. Each book examines a singular, but often assumed or neglected, issue facing the contemporary writer of fiction, nonfiction, or poetry. The Art of series means to restore the art of criticism while illuminating the art of writing.

A heartbreaking and hilarious memoir by iCarly and Sam & Cat star Jennette McCurdy about her struggles as a former child actor—including eating disorders, addiction, and a complicated relationship with her overbearing mother—and how she retook control of her life. Jennette McCurdy was six years old when she had her first acting audition. Her mother’s dream was for her only daughter to become a star, and Jennette would do anything to make her mother happy. So she went along with what Mom called “calorie restriction,” eating little and weighing herself five times a day. She endured extensive at-home makeovers while Mom chided, “Your eyelashes are invisible, okay? You think Dakota Fanning doesn’t tint hers?” She was even showered by Mom until age sixteen while sharing her diaries, email, and all her income. In I’m Glad My Mom Died , Jennette recounts all this in unflinching detail—just as she chronicles what happens when the dream finally comes true. Cast in a new Nickelodeon series called iCarly , she is thrust into fame. Though Mom is ecstatic, emailing fan club moderators and getting on a first-name basis with the paparazzi (“Hi Gale!”), Jennette is riddled with anxiety, shame, and self-loathing, which manifest into eating disorders, addiction, and a series of unhealthy relationships. These issues only get worse when, soon after taking the lead in the iCarly spinoff Sam & Cat alongside Ariana Grande, her mother dies of cancer. Finally, after discovering therapy and quitting acting, Jennette embarks on recovery and decides for the first time in her life what she really wants. Told with refreshing candor and dark humor, I’m Glad My Mom Died is an inspiring story of resilience, independence, and the joy of shampooing your own hair.

With unprecedented access and unsparing analysis, this is the definitive investigation into Spotify, weaving interviews with incisive cultural criticism, and illuminating how streaming has reshaped music for listeners and artists alike.Flush with testimony from over a hundred industry insiders, former Spotify employees, and musicians, Mood Machine takes us into the inner workings of the highly consolidated modern music business and how it has become personalized, playlisted, autoplayed, and algorithmic. With an expert’s eye, music journalist Liz Pelly reveals how Spotify’s two-sided marketplace—the listeners who pay with their dollars and data, and the musicians who provide the material powering it all—has changed music media forever. She also explores how musicians and listeners are coming together to fight this era of musical individualism and advocate for artists’ futures. Amazon Unbound and Weapons of Math Destruction for the music industry, Mood Machine is a timely and unputdownable exploration of a company that has become synonymous with music.

As bombs rained down on Gaza in October 2023, images of mass death and destruction gripped the world, and openly genocidal statements from Israeli leaders foretold the magnitude of horrors to come. But the US media was quick to downplay, obscure, and repackage an emerging campaign of extermination into a slick “war on terror” framework.  How to Sell a Genocide is a thorough indictment of US corporate media's role in enabling—and, at times, directly inciting—one of the most devastating campaigns of mass killing in modern memory. Johnson unpacks how major news outlets like The New York Times, CNN, and MSNBC systematically sanitised Israel's war crimes, hid the US’s central role, and dehumanised the Palestinian people. Drawing from deep, original data-driven analysis, Johnson dissects the mechanics of propaganda, from the selective empathy, strategic omissions, overt racism and repetition of state-sanctioned falsehoods, to the demonisation of humanitarian workers and dishonest coverage of campus protests. With clarity and moral force, Johnson argues that the genocide could not have been sustained without the active, sustained complicity of the US media.

From the critically acclaimed author of Bunny, a darkly funny novel about a theater professor suffering chronic pain, who in the process of staging a troubled production of Shakespeare’s most maligned play, suddenly and miraculously recovers. Miranda Fitch’s life is a waking nightmare. The accident that ended her burgeoning acting career left her with excruciating, chronic back pain, a failed marriage, and a deepening dependence on painkillers. And now she’s on the verge of losing her job as a college theater director. Determined to put on Shakespeare’s All’s Well That Ends Well, the play that promised, and cost, her everything, she faces a mutinous cast hellbent on staging Macbeth instead. Miranda sees her chance at redemption slip through her fingers. That’s when she meets three strange benefactors who have an eerie knowledge of Miranda’s past and a tantalizing promise for her future: one where the show goes on, her rebellious students get what’s coming to them, and the invisible, doubted pain that’s kept her from the spotlight is made known. With prose Margaret Atwood has described as “no punches pulled, no hilarities dodged...genius,” Mona Awad has concocted her most potent, subversive novel yet. All’s Well is the story of a woman at her breaking point and a formidable, piercingly funny indictment of our collective refusal to witness and believe female pain.