You go through life thinking there’s so much you need… Until you leave with only your phone, your wallet, and a picture of your mother. Marin hasn’t spoken to anyone from her old life since the day she left everything behind. No one knows the truth about those final weeks. Not even her best friend, Mabel. But even thousands of miles away from the California coast, at college in New York, Marin still feels the pull of the life and tragedy she’s tried to outrun. Now, months later, alone in an emptied dorm for winter break, Marin waits. Mabel is coming to visit, and Marin will be forced to face everything that’s been left unsaid and finally confront the loneliness that has made a home in her heart.

This memoir is a celebration of Tim Curry’s’s life’s work, and a testament to his profound impact on the entertainment industry as we know it today. There are few stars in Hollywood today that can boast the kind of resume Tony award-nominated actor Tim Curry has built over the past five decades. From his breakout role as Dr. Frank-N-Furter in The Rocky Horror Picture Show to his iconic depiction as the sadistic clown Pennywise in It to his critically acclaimed role as the original King Arthur in both the Broadway and West End versions of Spamalot, Curry redefined what it meant to be a “character actor,” portraying heroes and villains alike with complexity, nuance, and a genuine understanding of human darkness. Now, in his memoir, Curry takes readers behind-the-scenes of his rise to fame from his early beginnings as a military brat to his formative years in boarding school and university, to the moment when he hit the stage for the first time. He goes in-depth about what it was like to work on some of the most emblematic works of the 20th century, constantly switching between a camera and a live audience. He also explores the voicework that defined his later career and provided him with a chance to pivot after surviving a catastrophic stroke in 2012 that nearly took his life. With the upcoming 50th anniversary of The Rocky Horror Picture Show and the 40th anniversary of Clue, there’s never been a better time for Tim to share his story with the world.

Come meet The Liar, The Secret Keeper, The Crybaby, and the rest. Nine children travel with their families to their Grandfather's vacation property, where strange things begin to happen: eyes blink from the bottom up, mushrooms ooze blood, people's faces don't hang right anymore-except they do, once you look more closely. Transformations warp the children's sense of time and place, the very land itself seeming to encroach upon them. As The Liar watches the children succumb one by one to an unknown fate, she must make sense of absent stars in the night sky, vials of amber liquid that taste of milk, a funny little rope tied in knots. She's faced with a choice: join or resist, only the choice is not so simple. Set in The Grandfather's Lake House as he continues to extend his property lines and told in the eerie we of the children, Root Rot explores predatory family dynamics, the boundaries of bodies and home, and how individuals choose to participate in or push back against structures that would harm them.

A woman’s secret. A small town with a dark past. A serial killer bent on revenge. Lies kill in a shocking true crime–inspired thriller by the Edgar-nominated author of The Quarry Girls. Tuesday Hendrickson has spent eight years running from memories of that night. Her sister’s screams. Blood on the walls. And Arsen Bauer, a monster known as the Crying Killer, shot down in a barrage of bullets as he fled. Case closed. Intending to build a safe new identity out of the ashes, Tuesday changed her last name and moved away. She’s now a private investigator who guards herself and her daughter, Julia, like their lives depend on it. And maybe they do. Because unless she’s imagining things, Tuesday has seen Arsen on the streets of Saint Paul. She’d know her sister’s killer anywhere. When bodies begin surfacing bearing the Crying Killer’s brutal and unmistakable signature, Tuesday is certain he’s coming for them. Except no one believes that but her. As her paranoia intensifies, she is left with a terrible unearth the shocking secret she buried with her sister, or become the Crying Killer’s next victim.

For readers of Claire-Louise Bennett, Gwendoline Riley, and Rachel Cusk, a modern Gothic in which a woman newly arrived to a vast estate finds herself besieged by mysterious letters, resonant silences, and the uncanny persistence of history. At first Emil and I did not know about the big house. Or if we knew about it, we did not think about it, hidden as it was from Westermoy. It was impossible to get an unbroken view of any part of the building, not left to right, not up or down. Sane, not sane, houses such as this one held gravity differently than other buildings. A woman and her partner arrive at a gameskeeper’s cottage deep in the woods to begin a new life. There, they will undertake an ambitious regenerative agriculture project on behalf of the estate—observing mosses and lichens, planting birch and aspen trees, developing plans to reclaim polluted soils. They learn that soon they will also have their first child. But even from the first happy evening of their arrival, there are spaces where the woman does not like to tread: an anteroom she passes as quickly as she can, a corner in the raised beds where nothing grows, a glasshouse where she invariably feels watched. Then Emil is called away on business, and letters begin to arrive—strange intimations about the estate, thickets of claim and counterclaim. They came to Westermoy to get out ahead of their panic, to try to live a “good life”—to focus on what was in front of them, work with their hands, water and mulch. But neither the garden walls nor the boundaries of the estate can contain what has already taken root. The future they are building must also, unavoidably, rest on the past. A novel of thresholds, secrets, and silences, Poor Baby asks what is left of the world to inherit, and whether it is possible to live ethically within a system one wishes to disavow. It marks the US debut of a major voice in fiction: precise, intelligent, and bracingly new.