A viral linguist’s account of the ways our vocabularies are evolving, the Internet’s influence on communication, and what our use of language reveals about the modern worldFrom the rise of leetspeak and words such as unalive to the trend of adding “-core” to different influencer aesthetics, the Internet has ushered in an unprecedented linguistic upheaval. We’re entering an entirely new era of etymology, heralded by the invisible forces driving social media algorithms. Thankfully, Algospeak is here to explain. As a professional linguist, Adam Aleksic understands the gravity of language and the way we use he knows the ways it has morphed and changed, how it reflects society, and how, in its everyday usage, we carry centuries of human history on our tongues. As a social media influencer, Aleksic is also intimately familiar with the Internet’s reach and how social media impacts the way we engage with one another. New slang emerges and goes viral overnight. Accents are shaped or erased on YouTube. Grammatical rules, loopholes, and patterns surface and transform language as we know it. Our interactions—and our social norms and habits—shift into something completely different.As Aleksic uses original surveys, data, and Internet archival research to usher us through this new linguistic landscape, he also illuminates how communication is changing in both familiar and unprecedented ways. From our use of emojis to sentence structure to the ways younger generations talk about sex and death (see unalive in English and desvivirse in Spanish), we are in a brand-new world, one shaped by algorithms and technology. Algospeak is an energetic, astonishing journey into language, the Internet, and what this intersection means for all of us.

From the acclaimed editor of Our Women on the Ground comes a dazzling exploration of the intersections of beauty and power around the globe, told through the lens of an iconic cosmetic From the distant past to the present, with fingers and felt-tipped pens, metallic powders and gel pots, humans have been drawn to lining their eyes. The aesthetic trademark of figures ranging from Nefertiti to Amy Winehouse, eyeliner is one of our most enduring cosmetic tools; ancient royals and Gen Z beauty influencers alike would attest to its uniquely transformative power. It is undeniably fun—yet it is also far from frivolous. Seen through Zahra Hankir’s (kohl-lined) eyes, this ubiquitous but seldom-examined product becomes a portal to history, proof both of the stunning variety among cultures across time and space and of our shared humanity. Through intimate reporting and conversations—with nomads in Chad, geishas in Japan, dancers in India, drag queens in New York, and more— Eyeliner embraces the rich history and significance of its namesake, especially among communities of color. What emerges is an unexpectedly moving portrait of a tool that, in various corners of the globe, can signal religious devotion, attract potential partners, ward off evil forces, shield eyes from the sun, transform faces into fantasies, and communicate volumes without saying a word. Delightful, surprising, and utterly absorbing, Eyeliner is a fascinating tour through streets, stages, and bedrooms around the world, and a thought-provoking reclamation of a key piece of our collective history.

Agatha Christie's debut novel was also the first to feature Hercule Poirot, her famously eccentric Belgian detective. A refugee of the Great War, Poirot has settled in England near Styles Court, the country estate of his wealthy benefactor, the elderly Emily Inglethorp. When Emily is poisoned and the authorities are baffled, Poirot puts his prodigious sleuthing skills to work. Suspects are plentiful, including the victim’s much younger husband, her resentful stepsons, her longtime hired companion, a young family friend working as a nurse, and a London specialist on poisons who just happens to be visiting the nearby village. All of them have secrets they are desperate to keep, but none can outwit Poirot as he navigates the ingenious red herrings and plot twists that contribute to Agatha Christie's well-deserved reputation as the queen of mystery. Librarian's note: the first fifteen novels in the Hercule Poirot series are 1) The Mysterious Affair at Styles, 1920; 2) The Murder on the Links, 1923; 3) The Murder of Roger Ackroyd, 1926; 4) The Big Four, 1927; 5) The Mystery of the Blue Train, 1928; 6) Peril at End House, 1932; 7) Lord Edgware Dies, 1933; 8) Murder on the Orient Express, 1934; 9) Three Act Tragedy, 1935; 10) Death in the Clouds, 1935; 11) The A.B.C. Murders, 1936; 12) Murder in Mesopotamia, 1936; 13) Cards on the Table, 1936; 14) Dumb Witness, 1937; and 15) Death on the Nile, 1937. Poirot also appears, in this period, in a play, Black Coffee, 1930, and two collections of short stories, Poirot Investigates, 1924, and Murder in the Mews, 1937. Each novel and short story has its own entry on Goodreads.

Agatha Christie's debut novel was also the first to feature Hercule Poirot, her famously eccentric Belgian detective. A refugee of the Great War, Poirot has settled in England near Styles Court, the country estate of his wealthy benefactor, the elderly Emily Inglethorp. When Emily is poisoned and the authorities are baffled, Poirot puts his prodigious sleuthing skills to work. Suspects are plentiful, including the victim’s much younger husband, her resentful stepsons, her longtime hired companion, a young family friend working as a nurse, and a London specialist on poisons who just happens to be visiting the nearby village. All of them have secrets they are desperate to keep, but none can outwit Poirot as he navigates the ingenious red herrings and plot twists that contribute to Agatha Christie's well-deserved reputation as the queen of mystery. Librarian's note: the first fifteen novels in the Hercule Poirot series are 1) The Mysterious Affair at Styles, 1920; 2) The Murder on the Links, 1923; 3) The Murder of Roger Ackroyd, 1926; 4) The Big Four, 1927; 5) The Mystery of the Blue Train, 1928; 6) Peril at End House, 1932; 7) Lord Edgware Dies, 1933; 8) Murder on the Orient Express, 1934; 9) Three Act Tragedy, 1935; 10) Death in the Clouds, 1935; 11) The A.B.C. Murders, 1936; 12) Murder in Mesopotamia, 1936; 13) Cards on the Table, 1936; 14) Dumb Witness, 1937; and 15) Death on the Nile, 1937. Poirot also appears, in this period, in a play, Black Coffee, 1930, and two collections of short stories, Poirot Investigates, 1924, and Murder in the Mews, 1937. Each novel and short story has its own entry on Goodreads.

Laia is a slave. Elias is a soldier.  Neither is free. Under the Martial Empire, defiance is met with death. Those who do not vow their blood and bodies to the Emperor risk the execution of their loved ones and the destruction of all they hold dear. It is in this brutal world, inspired by ancient Rome, that Laia lives with her grandparents and older brother. The family ekes out an existence in the Empire’s impoverished backstreets. They do not challenge the Empire. They’ve seen what happens to those who do. But when Laia’s brother is arrested for treason, Laia is forced to make a decision. In exchange for help from rebels who promise to rescue her brother, she will risk her life to spy for them from within the Empire’s greatest military academy. There, Laia meets Elias, the school’s finest soldier—and secretly, its most unwilling. Elias wants only to be free of the tyranny he’s being trained to enforce. He and Laia will soon realize that their destinies are intertwined—and that their choices will change the fate of the Empire itself.

Laia is a slave. Elias is a soldier.  Neither is free. Under the Martial Empire, defiance is met with death. Those who do not vow their blood and bodies to the Emperor risk the execution of their loved ones and the destruction of all they hold dear. It is in this brutal world, inspired by ancient Rome, that Laia lives with her grandparents and older brother. The family ekes out an existence in the Empire’s impoverished backstreets. They do not challenge the Empire. They’ve seen what happens to those who do. But when Laia’s brother is arrested for treason, Laia is forced to make a decision. In exchange for help from rebels who promise to rescue her brother, she will risk her life to spy for them from within the Empire’s greatest military academy. There, Laia meets Elias, the school’s finest soldier—and secretly, its most unwilling. Elias wants only to be free of the tyranny he’s being trained to enforce. He and Laia will soon realize that their destinies are intertwined—and that their choices will change the fate of the Empire itself.

Laia is a slave. Elias is a soldier.  Neither is free. Under the Martial Empire, defiance is met with death. Those who do not vow their blood and bodies to the Emperor risk the execution of their loved ones and the destruction of all they hold dear. It is in this brutal world, inspired by ancient Rome, that Laia lives with her grandparents and older brother. The family ekes out an existence in the Empire’s impoverished backstreets. They do not challenge the Empire. They’ve seen what happens to those who do. But when Laia’s brother is arrested for treason, Laia is forced to make a decision. In exchange for help from rebels who promise to rescue her brother, she will risk her life to spy for them from within the Empire’s greatest military academy. There, Laia meets Elias, the school’s finest soldier—and secretly, its most unwilling. Elias wants only to be free of the tyranny he’s being trained to enforce. He and Laia will soon realize that their destinies are intertwined—and that their choices will change the fate of the Empire itself.

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.

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.

Whilst organising a mock murder hunt for the village fete hosted by Sir George and Lady Stubbs, a feeling of dread settles on the famous crime novelist Adriane Oliver. Call it instinct, but it's a feeling she just can't explain...or get away from. In desperation she summons her old friend, Hercule Poirot -- and her instincts are soon proved correct when the 'pretend' murder victim is discovered playing the scene for real, a rope wrapped tightly around her neck. But it's the great detective who first discovers that in murder hunts, whether mock or real, everyone is playing a part.

Whilst organising a mock murder hunt for the village fete hosted by Sir George and Lady Stubbs, a feeling of dread settles on the famous crime novelist Adriane Oliver. Call it instinct, but it's a feeling she just can't explain...or get away from. In desperation she summons her old friend, Hercule Poirot -- and her instincts are soon proved correct when the 'pretend' murder victim is discovered playing the scene for real, a rope wrapped tightly around her neck. But it's the great detective who first discovers that in murder hunts, whether mock or real, everyone is playing a part.

An elderly stroke victim dies without having arranged a will… Beautiful young Elinor Carlisle stood serenely in the dock, accused of the murder of Mary Gerrard, her rival in love. The evidence was damning: only Elinor had the motive, the opportunity and the means to administer the fatal poison. Yet, inside the hostile courtroom, only one man still presumed Elinor was innocent until proven guilty: Hercule Poirot was all that stood between Elinor and the gallows…

An elderly stroke victim dies without having arranged a will… Beautiful young Elinor Carlisle stood serenely in the dock, accused of the murder of Mary Gerrard, her rival in love. The evidence was damning: only Elinor had the motive, the opportunity and the means to administer the fatal poison. Yet, inside the hostile courtroom, only one man still presumed Elinor was innocent until proven guilty: Hercule Poirot was all that stood between Elinor and the gallows…

The beautiful bronzed body of Arlena Stuart lay facedown on the beach. But strangely, there was no sun and she was not sunbathing... she had been strangled. Ever since Arlena's arrival the air had been thick with sexual tension. Each of the guests had a motive to kill her. But Hercule Poirot suspects that this apparent 'crime of passion' conceals something much more evil.

The beautiful bronzed body of Arlena Stuart lay facedown on the beach. But strangely, there was no sun and she was not sunbathing... she had been strangled. Ever since Arlena's arrival the air had been thick with sexual tension. Each of the guests had a motive to kill her. But Hercule Poirot suspects that this apparent 'crime of passion' conceals something much more evil.