For fans of Sally Rooney and Torrey Peters, a taut and profoundly moving debut that follows a cast of intricately linked characters during a heatwave in London as simmering tensions and secrets come to a head over one life-changing weekend. London, 2019. It’s the hottest June on record, and a whale is stuck in the Thames River. In the streets of the city, four old acquaintances want more from life than they’ve been given. On the summer solstice, the longest day of the year, their paths will intersect at a party that will change their lives forever… Maggie, a once-hopeful artist turned waitress, is pregnant and preparing to move back to her hometown with her boyfriend and father-to-be Ed, leaving the city she loves and the life she imagined for herself. Ed, coasting through life as a barely competent bike courier, is ready for a new start with Maggie and their baby, if only to finally leave behind his secret past of hooking up with strange men in train station bathrooms—and his secret past with Maggie’s best friend, Phil. Phil, who sleepwalks through his office job and lives for the weekends, is on the brink of achieving his first real relationship with his roommate Keith. The two live in an illegal warehouse commune with other quirky creatives and idealists—the site of the party to end all parties. As the temperature continues to climb, Maggie, Ed, and Phil will have to confront their shared pasts, current desires, and limits of their future lives together before the weekend is over. Strikingly heartfelt, sexually charged, and disarmingly comic, Oisín McKenna’s addictive, page-turning debut is a mesmerizing dive into the soul of a city and a critical look at the political, emotional, and financial hurdles facing young adults trying to build lives there and often living for their evenings and weekends.

Koschei the Deathless is to Russian folklore what devils or wicked witches are to European culture: a menacing, evil figure; the villain of countless stories which have been passed on through story and text for generations. But Koschei has never before been seen through the eyes of Catherynne Valente, whose modernized and transformed take on the legend brings the action to modern times, spanning many of the great developments of Russian history in the twentieth century. Deathless, however, is no dry, historical tome: it lights up like fire as the young Marya Morevna transforms from a clever child of the revolution, to Koschei’s beautiful bride, to his eventual undoing. Along the way there are Stalinist house elves, magical quests, secrecy and bureaucracy, and games of lust and power. All told, Deathless is a collision of magical history and actual history, of revolution and mythology, of love and death, which will bring Russian myth back to life in a stunning new incarnation.

Asa’s husband is transferring jobs, and his new office is located near his family’s home in the countryside. During an exceptionally hot summer, the young married couple move in, and Asa does her best to quickly adjust to their new rural lives, to their remoteness, to the constant presence of her in-laws and the incessant buzz of cicadas. While her husband is consumed with his job, Asa is left to explore her surroundings on her own: she makes trips to the supermarket, halfheartedly looks for work, and tries to find interesting ways of killing time.        One day, while running an errand for her mother-in-law, she comes across a strange creature, follows it to the embankment of a river, and ends up falling into a hole—a hole that seems to have been made specifically for her. This is the first in a series of bizarre experiences that drive Asa deeper into the mysteries of this rural landscape filled with eccentric characters and unidentifiable creatures, leading her to question her role in this world, and eventually, her sanity.

The English-language debut of Hiroko Oyamada—one of the most powerfully strange young voices in Japan. In an unnamed Japanese city, three seemingly normal and unrelated characters find work at a sprawling industrial factory. They each focus intently on their specific jobs: one studies moss, one shreds paper, and the other proofreads incomprehensible documents. Life in the factory has its own logic and momentum, and, eventually, the factory slowly expands and begins to take over everything, enveloping these poor workers. The very margins of reality seem to be dissolving: all forms of life capriciously evolve, strange creatures begin to appear… After a while—it could be weeks or years—the workers don’t even have the ability to ask themselves: where does the factory end and the rest of the world begin? Told in three alternating first-person narratives, The Factory casts a vivid—if sometimes surreal—portrait of the absurdity and meaninglessness of modern life. With hints of Kafka and unexpected moments of creeping humor, Hiroko Oyamada is one of the boldest writers of her generation.

Asa’s husband is transferring jobs, and his new office is located near his family’s home in the countryside. During an exceptionally hot summer, the young married couple move in, and Asa does her best to quickly adjust to their new rural lives, to their remoteness, to the constant presence of her in-laws and the incessant buzz of cicadas. While her husband is consumed with his job, Asa is left to explore her surroundings on her own: she makes trips to the supermarket, halfheartedly looks for work, and tries to find interesting ways of killing time.        One day, while running an errand for her mother-in-law, she comes across a strange creature, follows it to the embankment of a river, and ends up falling into a hole—a hole that seems to have been made specifically for her. This is the first in a series of bizarre experiences that drive Asa deeper into the mysteries of this rural landscape filled with eccentric characters and unidentifiable creatures, leading her to question her role in this world, and eventually, her sanity.

An attempt by literary critic Walter Benjamin to analyze the changed experience of art in modern society.

A brilliantly inventive new novel about loss, growing up, and our relationship with things, by the Booker Prize-finalist author of A Tale for the Time Being After the tragic death of his beloved musician father, fourteen-year-old Benny Oh begins to hear voices. The voices belong to the things in his house--a sneaker, a broken Christmas ornament, a piece of wilted lettuce. Although Benny doesn't understand what these things are saying, he can sense their emotional tone; some are pleasant, a gentle hum or coo, but others are snide, angry and full of pain. When his mother, Annabelle, develops a hoarding problem, the voices grow more clamorous. At first, Benny tries to ignore them, but soon the voices follow him outside the house, onto the street and at school, driving him at last to seek refuge in the silence of a large public library, where objects are well-behaved and know to speak in whispers. There, Benny discovers a strange new world, where "things happen." He falls in love with a mesmerizing street artist with a smug pet ferret, who uses the library as her performance space. He meets a homeless philosopher-poet, who encourages him to ask important questions and find his own voice amongst the many. And he meets his very own Book--a talking thing--who narrates Benny's life and teaches him to listen to the things that truly matter. With its blend of sympathetic characters, riveting plot, and vibrant engagement with everything from jazz, to climate change, to our attachment to material possessions, The Book of Form and Emptiness is classic Ruth Ozeki--bold, wise, poignant, playful, humane and heartbreaking.