In this award-winning, groundbreaking debut, Justin Torres plunges us into the chaotic heart of one family, the intense bonds of three brothers, and the mythic effects of this fierce love on the people we must become. “A tremendously gifted writer whose highly personal voice should excite us in much the same way that Raymond Carver’s or Jeffrey Eugenides’s voice did when we first heard it."— The Washington Post Three brothers tear their way through childhood— smashing tomatoes all over each other, building kites from trash, hiding out when their parents do battle, tiptoeing around the house as their mother sleeps off her graveyard shift. Paps and Ma are from Brooklyn—he’s Puerto Rican, she’s white—and their love is a serious, dangerous thing that makes and unmakes a family many times. Life in this family is fierce and absorbing, full of chaos and heartbreak and the euphoria of belonging completely to one another. From the intense familial unity felt by a child to the profound alienation he endures as he begins to see the world, this beautiful novel reinvents the coming-of-age story in a way that is sly and punch-in-the-stomach powerful. "We the Animals is a dark jewel of a book. It’s heartbreaking. It’s beautiful. It resembles no other book I’ve read.”—Michael Cunningham "A fiery ode to boyhood . . . A welterweight champ of a book."— NPR, Weekend Edition

Through political and cultural analysis of representations of the so-called war on drugs, Oswaldo Zavala makes the case that the very terms we use to describe drug traffickers are a constructed subterfuge for the real narcos: politicians, corporations, and the military. Though Donald Trump's incendiary comments and monstrous policies on the border revealed the character of a deeply depraved leader, state violence on both sides of the border is nothing new. Immigration has endured as a prevailing news topic, but it is a fixture of modern society in the neoliberal era; the future will be one of exile brought on by state violence and the plundering of our natural resources to sate capitalist greed. Yet the realities of violence in Mexico and along the border are obscured by the books, films, and TV series we consume. In truth, works like Sicario, The Queen of the South, and Narcos hide Mexico's political realities. Alongside these examples, Zavala discusses Charles Bowden, 2666 by Roberto Bolaño, and other important Latin American writers as examples of those who do capture the realities of the drug war. Translated into English by William Savinar, Drug Cartels Do Not Exist will be useful for journalists, political scientists, philosophers, and writers of any kind who wish to break down the constructed barriers--physical and mental--created by those in power around the reality of the Mexican drug trade.

It’s not the dream that matters, it’s the telling of the dream – the words you choose, the risks you take in externalising your mindThis is a dreamlike portrait of a body in struggle to connect with itself and others. As the narrator contends with chronic pain, and with a pandemic raging in the background, she sets out to examine the literal and symbolic role of the mouth in the life of a writer.Merging dreams and dailies, Pathemata recounts the narrator’s tragicomic search to alleviate her suffering, a search that eventually becomes a reckoning with various forms of loss – the loss of intimacy, the loss of her father and the loss of a pivotal friend and mentor. In exacting, distilled prose, her account blurs the lines between embodied, unconscious and everyday life.With characteristic precision, humour and compassion, Nelson explores the limits of language to describe experience, while also offering a portrait of an unnerving and isolating time in our shared history. A stunning, original experiment in interiority by the adored author of Bluets and The Argonauts, Pathemata is a personal and poetic reckoning with pain and loss, both physical and emotional, as well as an uncanny meditation on love, affliction and resilience.

Through political and cultural analysis of representations of the so-called war on drugs, Oswaldo Zavala makes the case that the very terms we use to describe drug traffickers are a constructed subterfuge for the real narcos: politicians, corporations, and the military. Though Donald Trump's incendiary comments and monstrous policies on the border revealed the character of a deeply depraved leader, state violence on both sides of the border is nothing new. Immigration has endured as a prevailing news topic, but it is a fixture of modern society in the neoliberal era; the future will be one of exile brought on by state violence and the plundering of our natural resources to sate capitalist greed. Yet the realities of violence in Mexico and along the border are obscured by the books, films, and TV series we consume. In truth, works like Sicario, The Queen of the South, and Narcos hide Mexico's political realities. Alongside these examples, Zavala discusses Charles Bowden, 2666 by Roberto Bolaño, and other important Latin American writers as examples of those who do capture the realities of the drug war. Translated into English by William Savinar, Drug Cartels Do Not Exist will be useful for journalists, political scientists, philosophers, and writers of any kind who wish to break down the constructed barriers--physical and mental--created by those in power around the reality of the Mexican drug trade.

It’s not the dream that matters, it’s the telling of the dream – the words you choose, the risks you take in externalising your mindThis is a dreamlike portrait of a body in struggle to connect with itself and others. As the narrator contends with chronic pain, and with a pandemic raging in the background, she sets out to examine the literal and symbolic role of the mouth in the life of a writer.Merging dreams and dailies, Pathemata recounts the narrator’s tragicomic search to alleviate her suffering, a search that eventually becomes a reckoning with various forms of loss – the loss of intimacy, the loss of her father and the loss of a pivotal friend and mentor. In exacting, distilled prose, her account blurs the lines between embodied, unconscious and everyday life.With characteristic precision, humour and compassion, Nelson explores the limits of language to describe experience, while also offering a portrait of an unnerving and isolating time in our shared history. A stunning, original experiment in interiority by the adored author of Bluets and The Argonauts, Pathemata is a personal and poetic reckoning with pain and loss, both physical and emotional, as well as an uncanny meditation on love, affliction and resilience.

The sequel is finally here! Shane and Ilya’s story, first seen in Heated Rivalry, continues in this long-awaited hockey romance from Rachel Reid. To the world they are rivals, but to each other they are everything. Ten years. That’s how long Shane Hollander and Ilya Rozanov have been seeing each other. How long they’ve been keeping their relationship a secret. From friends, from family…from the league. If Shane wants to stay at the top of his game, what he and Ilya share has to remain secret. He loves Ilya, but what if going public ruins everything? Ilya is sick of secrets. Shane has gotten so good at hiding his feelings, sometimes Ilya questions if they even exist. The closeness, the intimacy, even the risk that would come with being open about their relationship…Ilya wants it all. It’s time for them to decide what’s most important—hockey or love. It’s time to make a call. Game Changers Book 1: Game Changer Book 2: Heated Rivalry Book 3: Tough Guy Book 4: Common Goal Book 5: Role Model Book 6: The Long Game

A big and big-hearted novel—one enthralling, transformative year in the life of a child actor coming of age in a bygone Manhattan, from the critically acclaimed author of Mr. Peanut (“A brilliant, powerful, and memorable book” —The New York Times) “In the fall of 1980, when I was fourteen, a friend of my parents named Naomi Shah fell in love with me. She was thirty-six, a mother of two, and married to a wealthy man. Like so many things that happened to me that year, it didn’t seem strange at the time.” Griffin Hurt is in over his head. Between his role as Peter Proton on the hit TV show The Nuclear Family and the pressure of high school at New York's elite Boyd Prep—along with the increasingly compromising demands of his wrestling coach—he's teetering on the edge of collapse. Then comes Naomi Shah, twenty-two years Griffin’s senior. Unwilling to lay his burdens on his shrink—whom he shares with his father, mother, and younger brother, Oren—Griffin soon finds himself in the back of Naomi’s Mercedes sedan, again and again, confessing all to the one person who might do him the most harm. Less a bildungsroman than a story of miseducation, Playworld is a novel of epic proportions, bursting with laughter and heartache. Adam Ross immerses us in the life of Griffin and his loving (yet disintegrating) family while seeming to evoke the entirety of Manhattan and the ethos of an era—with Jimmy Carter on his way out and a B-list celebrity named Ronald Reagan on his way in. Surrounded by adults who embody the age’s excesses—and who seem to care little about what their children are up to—Griffin is left to himself to find the line between youth and maturity, dependence and love, acting and truly grappling with life.