The fascinating history of women’s health as it’s never been told before. For as long as medicine has been a practice, women's bodies have been treated like objects to be practiced on: examined and ignored, idealized and sexualized, shamed, subjugated, mutilated, and dismissed. The history of women’s healthcare is a story in which women themselves have too often been voiceless—a narrative instead written from the perspective of men who styled themselves as authorities on the female of the species, yet uninformed by women’s own voices, thoughts, fears, pain and experiences. The result is a cultural and societal legacy that continues to shape the (mis)treatment and care of women. While the modern age has seen significant advancements in the medical field, the notion that female bodies are flawed inversions of the male ideal lingers on—as do the pervasive societal stigmas and lingering ignorance that shape women’s health and relationships with their own bodies. Memorial Sloan Kettering oncologist and medical historian Dr. Elizabeth Comen peels back the curtain on the collective medical history of women to reintroduce us to our whole bodies—how they work, the actual doctors and patients whose perspectives and experiences laid the foundation for today’s medical thought, and the many oversights that still remain unaddressed. With a physician’s knowledge and empathy, Dr. Comen follows the road map of the eleven organ systems to share unique and untold stories, drawing upon medical texts and journals, interviews with expert physicians, as well as her own experience treating thousands of women. Empowering women to better understand ourselves and advocate for care that prioritizes healthy and joyful lives—for us and generations to come—All in Her Head is written with humor, wisdom, and deep scientific and cultural insight. Eye-opening, sometimes enraging, yet always captivating, this shared memoir of women’s medical history is an essential contribution to a holistic understanding and much-needed reclaiming of women’s history and bodies.

Remarkably Bright Creatures, an exploration of friendship, reckoning, and hope, tracing a widow's unlikely connection with a giant Pacific octopus. After Tova Sullivan's husband died, she began working the night shift at the Sowell Bay Aquarium, mopping floors and tidying up. Keeping busy has always helped her cope, which she's been doing since her eighteen-year-old son, Erik, mysteriously vanished on a boat in Puget Sound over thirty years ago. Tova becomes acquainted with curmudgeonly Marcellus, a giant Pacific octopus living at the aquarium. Marcellus knows more than anyone can imagine but wouldn't dream of lifting one of his eight arms for his human captors--until he forms a remarkable friendship with Tova. Ever the detective, Marcellus deduces what happened the night Tova's son disappeared. And now Marcellus must use every trick his old invertebrate body can muster to unearth the truth for her before it's too late. Shelby Van Pelt's debut novel is a gentle reminder that sometimes taking a hard look at the past can help uncover a future that once felt impossible.

The apocalypse will be televised! A man. His ex-girlfriend's cat. A sadistic game show unlike anything in the universe: a dungeon crawl where survival depends on killing your prey in the most entertaining way possible. In a flash, every human-erected construction on Earth—from Buckingham Palace to the tiniest of sheds—collapses in a heap, sinking into the ground. The buildings and all the people inside have all been atomized and transformed into the dungeon: an 18-level labyrinth filled with traps, monsters, and loot. A dungeon so enormous, it circles the entire globe. Only a few dare venture inside. But once you're in, you can't get out. And what's worse, each level has a time limit. You have but days to find a staircase to the next level down, or it's game over. In this game, it's not about your strength or your dexterity. It's about your followers, your views. Your clout. It's about building an audience and killing those goblins with style. You can't just survive here. You gotta survive big. You gotta fight with vigor, with excitement. You gotta make them stand up and cheer. And if you do have that "it" factor, you may just find yourself with a following. That's the only way to truly survive in this game—with the help of the loot boxes dropped upon you by the generous benefactors watching from across the galaxy. They call it Dungeon Crawler World. But for Carl, it's anything but a game.

Natalie Diaz’s highly anticipated follow-up to When My Brother Was an Aztec, winner of an American Book AwardPostcolonial Love Poem is an anthem of desire against erasure. Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality. Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.

Oxford – celebrated city of dreaming spires and class warfare – is an ambition come true for lesbian, geeky, upper-middle-class Charlotte and straight, charismatic, working-class Millie. Against the odds, theirs is an instant, best friendship. Forever. Exuberant Millie is a breath of fresh air for polite Charlotte and a force of nature within the university's hallowed walls. And they are going to be the best lawyers of their year and change the world. But their world changes instead when things go queerly sideways, and they haven’t seen each other since. Ten years on and Charlotte returns to where it all began. She has a new job at a prestigious law firm and Oxford is as beautiful as ever. She’s a safe distance from her overbearing barrister mother Nicola and three office floors from her snappy college mentor, Olivia. Then Millie bounds around the corner wanting to be friends again and it's as if the last decade never happened. Will it be different the second time around? Can they be friends again? Or will love and attraction change things? Meeting Millie is a sapphic romance about the nature of friendship, how two people change over the years, and how they see themselves and each other.