A plucky yet innocent wallflower writing a dictionary of bawdy slang arranges her own marriage to the ultimate the town rake. As sexy as it is witty and as charming as it is irreverent, The Very Definition of Love is Emily Henry for the regency era. 1816– Harriet Barrington may be on her fifth season with no marriage prospects, but she’s fine with that. It gives her more time to write her dictionary of modern slang. Words are her passion, especially the exciting, filthy ones men have kept hidden from women for far too long. While researching late in the library during a party, Harriet accidentally finds herself in a compromising situation with notorious rake, Lord Alexander. To save her reputation and her younger sisters from ruin, Harriet has no choice but to slightly kidnap Alexander and strong arm him into an elopement. This arranged marriage has a very particular condition—it will be in name-only, leaving each of them to follow their own interests. For Harriet that’s her work, for Alexander, that’s women. But soon Alexander’s rakish existence is not nearly as fun as spending time with Harriet, and Harriet’s beginning to worry about how much she actually likes her husband. Behind the closed doors of their respectable home, things become a little… complicated. After all, who better to teach her the very thorough meaning of these indecent words than the renowned lover, Lord Alexander Stirling? Perhaps this marriage will teach them both a little more about that word they’ve been avoiding—love. If Carrie Bradshaw wrote a Regency romance…. Meet an irresistible new voice in sex and relationships columnist and lifelong romance fan, Sophia Benoit. Tropes Enemies-to-lovers / Marriage of convenience / There’s only one bed / Yearning / A misunderstanding / He teaches her / Regency era / Rake x wallflower

A plucky yet innocent wallflower writing a dictionary of bawdy slang arranges her own marriage to the ultimate the town rake. As sexy as it is witty and as charming as it is irreverent, The Very Definition of Love is Emily Henry for the regency era. 1816– Harriet Barrington may be on her fifth season with no marriage prospects, but she’s fine with that. It gives her more time to write her dictionary of modern slang. Words are her passion, especially the exciting, filthy ones men have kept hidden from women for far too long. While researching late in the library during a party, Harriet accidentally finds herself in a compromising situation with notorious rake, Lord Alexander. To save her reputation and her younger sisters from ruin, Harriet has no choice but to slightly kidnap Alexander and strong arm him into an elopement. This arranged marriage has a very particular condition—it will be in name-only, leaving each of them to follow their own interests. For Harriet that’s her work, for Alexander, that’s women. But soon Alexander’s rakish existence is not nearly as fun as spending time with Harriet, and Harriet’s beginning to worry about how much she actually likes her husband. Behind the closed doors of their respectable home, things become a little… complicated. After all, who better to teach her the very thorough meaning of these indecent words than the renowned lover, Lord Alexander Stirling? Perhaps this marriage will teach them both a little more about that word they’ve been avoiding—love. If Carrie Bradshaw wrote a Regency romance…. Meet an irresistible new voice in sex and relationships columnist and lifelong romance fan, Sophia Benoit. Tropes Enemies-to-lovers / Marriage of convenience / There’s only one bed / Yearning / A misunderstanding / He teaches her / Regency era / Rake x wallflower

Lucy isn’t a normal girl. Ghost. Victim. Killer. She’s a doll on a mission—to find the man who killed her and return the favor. Lucy McQuinn has been murdered, but she’s not about to go quietly. If she doesn’t get to keep breathing, then neither does Kyle, her killer. Possessing the body of an antique doll, she sets out on a quest for revenge. But it’s hard when you’re eighteen inches tall and made of porcelain. For help, she turns to Nicola, a human and fellow outsider with her own reasons to hate Kyle. But in their small idyllic town, no one wants to hear the truth, especially not about such a promising young man. If they can’t expose his crimes, Lucy will have to roll up her lacy little sleeves and teach him a lesson the old-fashioned way—as slowly and painfully as possible. From LA Times bestselling author Barbara Truelove, She’s a Doll is a ghoulish and gleeful tribute to the unstoppable power of female rage and a love letter to the friends who have our back—in this life and the next.

An explosive, jaw-dropping debut about a woman who loses her job as an oil company CEO after she’s filmed having sex with a tree in her sleep, a calamity that unravels her mind, spiraling her through history until she’s united with a centuries-old coven of ecstatically revolutionary women. “You’re holding a torpedo of a book in your hand. Take a seat and get comfortable. This novel’s energy, humor, and rebel spirit will awaken your mind and change your way of thinking.” —Olga Tokarczuk, 2018 Nobel Prize Winner, Man Booker International Prize Winner, finalist for the National Book AwardAnna Frenza hates the tyrannical tree huggers and the idiotic eco-warriors—after all, she’s the CEO of Poland’s biggest oil company. But then she finds herself in a trance, sleepwalking into the woods and making love to a tree, manically—all caught on camera. Her career ends and, in the fallout, she discovers her husband’s disturbing secret. Her mind splinters until she is no longer Anna Frenza, CEO. Now—whether by delusion or possession of spirit—she lives in the Duchy of Nysa, a medieval province ruled by the Catholic Church.From her psychiatric bed, Anna falls in with Mathilde Spalt, leader of the Earthen Ones—a congregation of women who live in the woods and reject all patriarchy, instead engaging in ecstatic, sensuous worship of Mother Earth. Through Mathilde, Anna learns to love the forest, preaching and practicing the emancipatory rituals of the Earthen Ones . . . until the Church decides to fell the forest and all the women within it.Bold and entirely unexpected, The Hexes of the Deadwood Forest is a collective rebellion and a collective orgasm, the death knell to the elevation of the erect. Take hold of your seat; patriarchy is coming to an end.

Slyly funny and disarmingly tender, Fallow is the story of a young woman who signs up to be the world’s first in-house corporate surrogate, then finds herself caught up in a social experiment of another kind. Natalie knows one truth: there is no such thing as a good job. As the clock ticks away at the call center where she logs complaints of workplace harassment, she tries to ignore the increasing pain in her jaw. She has no dental insurance. She has no skills or ambitions. She has student loans. And, minute by minute, she hears the many ways workers are not just not getting by, but actually getting hustled. Then, at the blood bank where she sells her plasma, a mysterious flyer leads her to The Company. Natalie turns out to be the perfect candidate for their pilot program, pitched as an opportunity to help women access greater gender equity. She will be their in-house surrogate, delivering seven babies in ten years and enabling their executives to have motherhood without maternity leave. Finally, she will be adequately—generously—compensated. For years, her every need is met: stacks of healthy meals in the refrigerator of a luxury condo, fitness coaches and nutritionists, around-the-clock health care. Between deliveries, she takes time off—a fallow period, with no obligations or expectations. For the first time in her life, she is good at her job; for the first time, she feels free. But just as she’s about to fulfill the terms of her contract, a staffing decision upends everything. Natalie is pulled into an entirely different kind of social experiment, one that raises new questions about her future, her freedom, her purpose, what she can expect from the world, and what she can offer to it. Woundingly funny and genuinely moving, Sarah Anderson’s Fallow is a tender, alarmingly real vision of a woman balancing on the knife-edge of capitalism as she comes to realize who she wants to be.

Slyly funny and disarmingly tender, Fallow is the story of a young woman who signs up to be the world’s first in-house corporate surrogate, then finds herself caught up in a social experiment of another kind. Natalie knows one truth: there is no such thing as a good job. As the clock ticks away at the call center where she logs complaints of workplace harassment, she tries to ignore the increasing pain in her jaw. She has no dental insurance. She has no skills or ambitions. She has student loans. And, minute by minute, she hears the many ways workers are not just not getting by, but actually getting hustled. Then, at the blood bank where she sells her plasma, a mysterious flyer leads her to The Company. Natalie turns out to be the perfect candidate for their pilot program, pitched as an opportunity to help women access greater gender equity. She will be their in-house surrogate, delivering seven babies in ten years and enabling their executives to have motherhood without maternity leave. Finally, she will be adequately—generously—compensated. For years, her every need is met: stacks of healthy meals in the refrigerator of a luxury condo, fitness coaches and nutritionists, around-the-clock health care. Between deliveries, she takes time off—a fallow period, with no obligations or expectations. For the first time in her life, she is good at her job; for the first time, she feels free. But just as she’s about to fulfill the terms of her contract, a staffing decision upends everything. Natalie is pulled into an entirely different kind of social experiment, one that raises new questions about her future, her freedom, her purpose, what she can expect from the world, and what she can offer to it. Woundingly funny and genuinely moving, Sarah Anderson’s Fallow is a tender, alarmingly real vision of a woman balancing on the knife-edge of capitalism as she comes to realize who she wants to be.