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.

A swoon-worthy debut queer Victorian romance in which two debutantes distract themselves from having to seek husbands by setting up their widowed parents, and instead find their perfect match in each other—the lesbian Bridgerton/Parent Trap you never knew you needed! Gwen has a brilliant beyond brilliant idea. It’s 1857, and anxious debutante Beth has just one season to snag a wealthy husband, or she and her mother will be out on the street. But playing the blushing ingenue makes Beth’s skin crawl and she’d rather be anywhere but here. Gwen, on the other hand, is on her fourth season and counting, with absolutely no intention of finding a husband, possibly ever. She figures she has plenty of security as the only daughter of a rakish earl, from whom she’s gotten all her flair, fun, and less-than-proper party games. “Let’s get them together,” she says. It doesn’t take long for Gwen to hatch her latest scheme: rather than surrender Beth to courtship, they should set up Gwen’s father and Beth’s newly widowed mother. Let them get married instead. “It’ll be easy” she says. There’s just…one, teeny, tiny problem. Their parents kind of seem to hate each other. But no worries. Beth and Gwen are more than up to the challenge of a little twenty-year-old heartbreak. How hard can parent-trapping widowed ex-lovers be? Of course, just as their plan begins to unfold, a handsome, wealthy viscount starts calling on Beth, offering up the perfect, secure marriage. Beth’s not mature enough for this… Now Gwen must face the prospect of sharing Beth with someone else, forever. And Beth must reckon with the fact that she’s caught feelings, hard, and they’re definitely not for her potential fiancé. That’s the trouble with matchmaking: sometimes you accidentally fall in love with your best friend in the process.

Scullery drudge Ann longs to become a lady's maid. Ann can't quite remember how or when she arrived at the grand Ropner Hall, but she loathes spending her days toiling in the dank kitchen. When a chance meeting with Ropner's Lady Charlotte leads to the opportunity to become her personal maid, Ann is convinced she has finally escaped her own version of hell. But has she? As Ann's new life above stairs takes a sinister twist, will it turn out that the terrors lurking there are worse than the devils she knows below?Jessie Elland's deeply visceral debut is a dark and twisted tale of ambition and desire. Are you brave enough to enter Ropner Hall?

It was a cloudless summer day in the year nineteen hundred. Everyone at Appleyard College for Young Ladies agreed it was just right for a picnic at Hanging Rock. After lunch, a group of three of the girls climbed into the blaze of the afternoon sun, pressing on through the scrub into the shadows of Hanging Rock. Further, higher, till at last they disappeared. They never returned. Whether Picnic at Hanging Rock is fact or fiction the reader must decide for themselves.

You can’t stop the future. You can’t rewind the past. The only way to learn the secret . . . is to press play. Clay Jensen returns home from school to find a strange package with his name on it lying on his porch. Inside he discovers several cassette tapes recorded by Hannah Baker–his classmate and crush–who committed suicide two weeks earlier. Hannah’s voice tells him that there are thirteen reasons why she decided to end her life. Clay is one of them. If he listens, he’ll find out why. Clay spends the night crisscrossing his town with Hannah as his guide. He becomes a firsthand witness to Hannah’s pain, and as he follows Hannah’s recorded words throughout his town, what he discovers changes his life forever.

Au temps de Louis XIV, Charlotte, Hortense, Isabeau et Louise sont pensionnaires à Saint-Cyr. Racine écrit pour les jeunes filles une pièce de théâtre : Esther. Les demoiselles sont toutes excitées à l'idée de jouer devant la cour du roi. Pendant une représentation, Hortense tombe amoureuse du frère de Charlotte. Elle qui voulait vouer sa vie à Dieu se trouve confronter à un dilemme...

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.

It’s off to the races in the explosive eighth book in the Dungeon Crawler Carl series. As chaos and mass panic spread outside the dungeon in the wake of Faction Wars, Carl and Donut find themselves on the tenth floor, where they’re forced to compete in a surprisingly normal set of tasks. Well, normal for the dungeon. Races. Get from point A to point B, and don’t come in last. After each race, they pick an upgrade for their vehicle and the track gets more challenging. It all seems a little too normal, a little too simple. Ignore those strange glitches that are occurring with increasing frequency. Don’t listen to those whispers about what’s happening on the mysterious eleventh floor, something the system AI calls A Parade of Horribles. Nobody, not even the showrunners, knows what that means. Just that the AI has ominously dubbed it “a coming-out party for the ages.” Everything is fine, Crawler. I repeat, everything is fine. Carl hates that it’s business as usual. The rules of this floor have taken away his agency. That just will not do. So Carl is planning a party of his own. It’s a plan so dangerous, so insane, he can’t even consult his friends lest the AI put a stop to it. Because if it goes wrong, it’s not just the end of Carl and Donut. No. The stakes are higher than they’ve ever been.

Stephanie Burgis delivers another irreverent, sparkling, and sexy installment in the Queens of Villainy, where a seductive fae queen meets her unexpected match in the enemy empire's valiant general. Queen Lorelei is a notorious fae seductress, with a trail of broken hearts in her wake. But behind her glamorous lifestyle and sparkling mask lurks a dangerously intelligent woman who’d do anything to keep her people safe, including kidnap the empire’s most famous hero. The virtuous high general Gerard de Moireul represents all that is moral and true. He has to, after his parents were executed for treason. The last thing he needs is the Queen of Balravia, who showers glitter and rainbow-colored sparkles everywhere she goes without the slightest regard for good taste, decorum, or royal dignity. They’re opposites in every way, but when they're swept up together in a grand--and deadly--fae tournament, they discover all of each other’s most hidden truths--and how perfectly they might be suited for each other after all.

A sumptuous, gothic-infused story about a marriage that is unraveled by dark secrets, a friendship cursed to end in tragedy, and the danger of believing in fairy tales—the breathtaking adult debut from New York Times bestselling author Roshani Chokshi. Once upon a time, a man who believed in fairy tales married a beautiful, mysterious woman named Indigo Maxwell-Casteñada. He was a scholar of myths. She was heiress to a fortune. They exchanged gifts and stories and believed they would live happily ever after—and in exchange for her love, Indigo extracted a promise: that her bridegroom would never pry into her past. But when Indigo learns that her estranged aunt is dying and the couple is forced to return to her childhood home, the House of Dreams, the bridegroom will soon find himself unable to resist. For within the crumbling manor’s extravagant rooms and musty halls, there lurks the shadow of another girl: Azure, Indigo’s dearest childhood friend who suddenly disappeared. As the house slowly reveals his wife’s secrets, the bridegroom will be forced to choose between reality and fantasy, even if doing so threatens to destroy their marriage . . . or their lives. Combining the lush, haunting atmosphere of Mexican Gothic with the dreamy enchantment of The Invisible Life of Addie LaRue, The Last Tale of the Flower Bride is a spellbinding and darkly romantic page-turner about love and lies, secrets and betrayal, and the stories we tell ourselves to survive.

You can’t stop the future. You can’t rewind the past. The only way to learn the secret . . . is to press play. Clay Jensen returns home from school to find a strange package with his name on it lying on his porch. Inside he discovers several cassette tapes recorded by Hannah Baker–his classmate and crush–who committed suicide two weeks earlier. Hannah’s voice tells him that there are thirteen reasons why she decided to end her life. Clay is one of them. If he listens, he’ll find out why. Clay spends the night crisscrossing his town with Hannah as his guide. He becomes a firsthand witness to Hannah’s pain, and as he follows Hannah’s recorded words throughout his town, what he discovers changes his life forever.

Butting heads leads to knocking boots in this wildly sexy enemies-to-lovers, grumpy/sunshine, small town cowboy romance by Jessica Peterson. My dad and I have been estranged for years. But as his only living relative, it’s no surprise I inherit his massive cattle ranch when he dies. Something that is a surprise? The stipulation in his will, which requires me to live on the ranch and actively manage it for a year before I can access my inheritance money. I haven’t stepped foot in Hartsville, Texas, population one thousand, since my parents split when I was six. Now a city girl through and through, I never imagined having to move back to cowboy country. But I need the money to invest in my company, and a girl’s gotta do what a girl’s gotta do. There’s just one giant roadblock to my plan: the ranch’s foreman, grumpy cowboy Cash Rivers. I don’t care how good he looks in his Wranglers and chaps. He’s rude, he’s growly, and he wants me gone. I’d fire him in a heartbeat, but I need this cowboy to teach me the ropes of running a ranch. We’re enemies from the get-go. But turns out, Cash is really good at this ranch thing. He’s got strong hands, an intelligent mind, and let’s just say everything really is bigger in Texas. Working alongside him leads to conversations beneath the stars. Throw in some cheek-to-cheek dancing at the local dive bar, and it all feels so right that I start to fall in love with life on the ranch. And maybe with him, too. But my stay in Hartsville is only temporary. And you know what they say about cowboys: they may break horses, but they also break hearts. If only Cash hadn’t already lassoed mine… CASH is the first standalone book in the brand new steamy, interconnected Lucky River Ranch Series.

When tangentially ― and reluctantly ― famous Luc O'Donnell is forced back into the spotlight in the worst possible way, he has to think fast if he wants to save his floundering reputation. Enter Oliver Blackwood. Stunningly handsome and effortlessly put together, Oliver is successful, an ethical vegetarian, and has never appeared in a scandal mag evenonce. In other words, he's perfect boyfriend material and exactly what Luc needs to appear respectable again. But when their fake relationship starts to feel like real romance, Luc and Oliver might have to consider whether they're willing to fight for the truth of their new relationship…scandal, and consequences, be damned.

This was supposed to be her happily ever after... It’s a familiar tale: A kind and beautiful young girl, reeling from loss. A doting father, frantic to bring a mother’s love back into his daughter’s life. And the selfish, cruel woman who insinuates herself into that family―a woman so unfeeling, so cold hearted, that when her new husband dies, she makes the girl a servant in her own home. But who is that evil stepmother, that icy lady of the house? How did she become so closed off that, in the face of a child’s grief, she thought only to seek wealth and power for herself and her abhorrent daughters? Before that fateful ball, before the glass slipper and the prince, there was another story―a story of love and grief, of hope and of dreams dashed. It is the story of Lady Tremaine. Even the coldest of villains are sometimes wives and mothers, women who loved and lost and hoped for something grander for their lives . . . once upon a dream. The latest novel in Serena Valentino’s deliciously devious Villains series introduces the most famed and hated wicked stepmother of them all―but turns everything you know about her on its head.

Lorsqu'elle arrive à Auschwitz, sous un ciel bas et gris, Ana est persuadée qu'elle ne survivra pas à l'enfer du camp. Mais elle possède une compétence que les nazis recherchent : elle est sage-femme. Son travail sera de donner naissance aux enfants des autres prisonnières. Une mission terrible car, dès qu'ils ont poussé leur premier cri, les nouveau-nés sont arrachés à leurs mères et donnés à des familles allemandes. Malgré la détresse de ces femmes à qui on vole leurs bébés, Ana essaie d'apporter un peu de réconfort autour d'elle. Et puis un jour, elle réalise qu'elle peut faire plus. Secrètement, elle commence à tatouer les petits avec les numéros de déportées de leurs mères.

Ce livre est sans conteste l'un des témoignages les plus bouleversants sur l'expérience indicible des camps d'extermination. Primo Levi y décrit la folie meurtrière du nazisme qui culmine dans la négation de l'appartenance des juifs à l'humanité. Le passage où l'auteur décrit le regard de ce dignitaire nazi qui lui parle sans le voir, comme s'il était transparent et n'existait pas en tant qu'homme, figure parmi les pages qui font le mieux comprendre que l'holocauste a d'abord été une négation de l'humain en l'autre. Si rien ne prédisposait l'ingénieur chimiste qu'était Primo Levi à écrire, son témoignage est pourtant devenu un livre qu'il importe à chaque membre de l'espèce humaine d'avoir lu pour que la nuit et le brouillard de l'oubli ne recouvrent pas à tout jamais le souvenir de l'innommable, pour que jamais plus la question de savoir "si c'est un homme" ne se pose. De ce devoir de mémoire, l'auteur s'est acquitté avant de mettre fin à ses jours, tant il semble difficile de vivre hanté par les fantômes de ces corps martyrisés et de ces voix étouffées. --Paul Klein

However, his words inspired me with resolution and powers I did not think myself possessed of before. I had naturally a degree of courage, and, as soon as I recovered from my astonishment, I found I was quite an altered person. His address pleased me, and wrought in me a confidence in myself; and I found I was become of more consequence than I had ever conceived I had been.