In this rowdy, frank reflection on illness, fame, sex, and everything in between, the remarkable mind behind the hit series Girls and the bestselling author of Not That Kind of Girl asks whether fulfilling her creative ambitions has been worth the pain. For the last decade, as she’s spent countless hours in doctor’s waiting rooms searching for diagnoses, treatments, and relief, being the owner and operator of Lena Dunham’s body has felt, as she puts it, 'like towing a wrecked car across town at midnight.' It’s not easy dragging a wrecked car anywhere, much less to the Met Gala while sewn into a gold lamé corset. Or to the set of the hit show that you – as a twenty-five-year-old – are writing, directing, producing, and starring in. Or to the White House, the Golden Globes, or your publicist’s office to discuss the latest internet disaster. But Dunham does it – even if it means interminable hospital stays, vomiting in the bathroom when she’s meant to be meeting Oprah, or terrifying those closest to her – because she can no longer tell the difference between fighting to do what she loves and being a servant to her own ambition. All the while, she is holding out for a love that can withstand her personal and public challenges and, more than anything, yearning to feel like herself again – if only she could remember who that self was. As Dunham takes us through her journey, tracking her rise to fame – from selling the pilot of Girls to the present – in three acts, it becomes clear that the spotlight casts long shadows, distorting the relationships she once held dear and isolating everyone in its glare. When an endless supply of drugs can’t protect you from pain – and begins to control your every move – being famous doesn’t stand a chance against the darker corners of the human experience. In Famesick, Dunham asks herself what the cost of fulfilling her dreams has really been, and whether it was worth it. What she finds is deeper than physical relief, and more lasting, as she learns to live with what she can’t change and turn her regrets into wisdom that can carry her forward, as she reconnects to what, and who, she loves.

All Hail Chaos is Sarah Rees Brennan’s wicked, unmissable, New York Times acclaimed, second book in the Time of Iron series. THE EMPEROR IS HERE. AND SHE MADE HIM WORSE. Rae is a fantasy reader who’s been transported to her favorite fictional world of swords and sorcery, castles and monsters. Playing the villainess, she thought she could change the narrative, but this version of the plot is far more deadly than the one she knew. Her friends are on the run: the Cobra shelters in an eerie manor haunted by dark secrets, while Emer and Lia stoke a revolution in the gutters. Undead armies roam the kingdom, raiders camp at the city gates, and the all-powerful Emperor—Rae’s favorite character ever, now possibly the greatest monster in the land—wants her to be his evil queen. Romantic in fiction, complicated in reality. What’s a villainess to do? Time for wicked bargains and fake engagements, in a fantasy where the most dangerous thing you can do is believe in someone.

In 1976, a uniquely seductive world of vampires was unveiled in the now-classic Interview with the Vampire . . . in 1985, a wild and voluptous voice spoke to us, telling the story of The Vampire Lestat.  In The Queen of the Damned, Anne Rice continues her extraordinary "Vampire Chronicles" in a feat of mesmeric storytelling, a chillingly hypnotic entertainment in which the oldest and most powerful forces of the night are unleashed on an unsuspecting world.Three brilliantly colored narrative threads intertwine as the story unfolds:- The rock star known as Vampire Lestat, worshipped by millions of spellbound fans, prepares for a concert in San Francisco.  Among the audience--pilgrims in a blind swoon of adoration--are hundreds of vampires, creatures who see Lestat as a "greedy fiend risking the secret prosperity of all his kind just to be loved and seen by mortals," fiends themselves who hate Lestat's power and who are determined to destroy him . . . - The sleep of certain men and women--vampires and mortals scattered around the world--is haunted by a vivid, mysterious dream: of twins with fiery red hair and piercing green eyes who suffer an unspeakable tragedy.  It is a dream that slowly, tauntingly reveals its meaning to the dreamers as they make their way toward each other--some to be destroyed on the journey, some to face an even more terrifying fate at journey's end . . . - Akasha--Queen of the Damned, mother of all vampires, rises after a 6,000 year sleep and puts into motion a heinous plan to "save" mankind from itself and make "all myths of the world real" by elevating herself and her chosen son/lover to the level of the gods: "I am the fulfillment and I shall from this moment be the cause" . . . These narrative threads wind sinuously across a vast, richly detailed tapestry of the violent, sensual world of vampirism, taking us back 6,000 years to its beginnings.  As the stories of the "first brood" of blood drinkers are revealed, we are swept across the ages, from Egypt to South America to the Himalayas to all the shrouded corners of the globe where vampires have left their mark. Vampires are created--mortals succumbing to the sensation of "being emptied, of being devoured, of being nothing." Vampires are destroyed.  Dark rituals are performed--the rituals of ancient creatures prowling the modern world.  And, finally, we are brought to a moment in the twentieth century when, in an astonishing climax, the fate of the living dead--and perhaps of the living, all the living--will be decided.

In this rowdy, frank reflection on illness, fame, sex, and everything in between, the remarkable mind behind the hit series Girls and the bestselling author of Not That Kind of Girl asks whether fulfilling her creative ambitions has been worth the pain. For the last decade, as she’s spent countless hours in doctor’s waiting rooms searching for diagnoses, treatments, and relief, being the owner and operator of Lena Dunham’s body has felt, as she puts it, 'like towing a wrecked car across town at midnight.' It’s not easy dragging a wrecked car anywhere, much less to the Met Gala while sewn into a gold lamé corset. Or to the set of the hit show that you – as a twenty-five-year-old – are writing, directing, producing, and starring in. Or to the White House, the Golden Globes, or your publicist’s office to discuss the latest internet disaster. But Dunham does it – even if it means interminable hospital stays, vomiting in the bathroom when she’s meant to be meeting Oprah, or terrifying those closest to her – because she can no longer tell the difference between fighting to do what she loves and being a servant to her own ambition. All the while, she is holding out for a love that can withstand her personal and public challenges and, more than anything, yearning to feel like herself again – if only she could remember who that self was. As Dunham takes us through her journey, tracking her rise to fame – from selling the pilot of Girls to the present – in three acts, it becomes clear that the spotlight casts long shadows, distorting the relationships she once held dear and isolating everyone in its glare. When an endless supply of drugs can’t protect you from pain – and begins to control your every move – being famous doesn’t stand a chance against the darker corners of the human experience. In Famesick, Dunham asks herself what the cost of fulfilling her dreams has really been, and whether it was worth it. What she finds is deeper than physical relief, and more lasting, as she learns to live with what she can’t change and turn her regrets into wisdom that can carry her forward, as she reconnects to what, and who, she loves.

In 1976, a uniquely seductive world of vampires was unveiled in the now-classic Interview with the Vampire . . . in 1985, a wild and voluptous voice spoke to us, telling the story of The Vampire Lestat.  In The Queen of the Damned, Anne Rice continues her extraordinary "Vampire Chronicles" in a feat of mesmeric storytelling, a chillingly hypnotic entertainment in which the oldest and most powerful forces of the night are unleashed on an unsuspecting world.Three brilliantly colored narrative threads intertwine as the story unfolds:- The rock star known as Vampire Lestat, worshipped by millions of spellbound fans, prepares for a concert in San Francisco.  Among the audience--pilgrims in a blind swoon of adoration--are hundreds of vampires, creatures who see Lestat as a "greedy fiend risking the secret prosperity of all his kind just to be loved and seen by mortals," fiends themselves who hate Lestat's power and who are determined to destroy him . . . - The sleep of certain men and women--vampires and mortals scattered around the world--is haunted by a vivid, mysterious dream: of twins with fiery red hair and piercing green eyes who suffer an unspeakable tragedy.  It is a dream that slowly, tauntingly reveals its meaning to the dreamers as they make their way toward each other--some to be destroyed on the journey, some to face an even more terrifying fate at journey's end . . . - Akasha--Queen of the Damned, mother of all vampires, rises after a 6,000 year sleep and puts into motion a heinous plan to "save" mankind from itself and make "all myths of the world real" by elevating herself and her chosen son/lover to the level of the gods: "I am the fulfillment and I shall from this moment be the cause" . . . These narrative threads wind sinuously across a vast, richly detailed tapestry of the violent, sensual world of vampirism, taking us back 6,000 years to its beginnings.  As the stories of the "first brood" of blood drinkers are revealed, we are swept across the ages, from Egypt to South America to the Himalayas to all the shrouded corners of the globe where vampires have left their mark. Vampires are created--mortals succumbing to the sensation of "being emptied, of being devoured, of being nothing." Vampires are destroyed.  Dark rituals are performed--the rituals of ancient creatures prowling the modern world.  And, finally, we are brought to a moment in the twentieth century when, in an astonishing climax, the fate of the living dead--and perhaps of the living, all the living--will be decided.

From RuPaul’s Drag Race winner and host of HBO’s We’re Here comes an inventive, wondrous novel about American hero Harriet Tubman that remixes history into a fresh, dynamic novel about love, freedom, salvation, and music. In an age of miracles where our greatest heroes from history have magically, unexplainably returned to shake us out of our confusion and hate, Harriet Tubman is back, and she has a lot to say. Harriet Tubman and four of the enslaved persons she led to freedom want to tell their story in a unique way—by following in the footsteps of Lin-Manuel Miranda’s Hamilton. Harriet wants to put on a show about her life, and she needs a songwriter to help her. She calls upon Darnell Williams, a once successful hip-hop producer who was topping the charts before being outed by a rival at the BET Awards. Darnell has no idea what to expect when he steps into the studio with Harriet, only that they have one week to write a Broadway caliber musical she can take on the road. Over the course of their time together, they not only mount a show that will take the country by storm, but confront the horrors of both their pasts, and learn to find a way to a better future. Original, evocative, and historic, Harriet Live in Concert is a landmark achievement that will burrow deep into our hearts (and ears).

A stunning romantasy about a threatened Siren who forges a bond with a brooding, self-righteous king in order to flee the king who raised her. Perfect for fans of One Dark Window and For the Wolf. The monster is always slain … Imogen Nel is in hiding. Hiding from a cruel kingdom that believes Sirens are monstrous, blood-hungry creatures. Hiding from a king and his captain who viciously hunt her kind. Hiding from her own alluring abilities. By keeping herself from the sea, Imogen’s bloodlust is dulled, and her black wings remain concealed beneath her skin. When a neighboring king comes to visit, Imogen can no longer hide. He knows precisely what she is, and he believes she can save their kingdoms from an even greater monster. But Imogen’s power threatens to violently reveal itself, and the two form a blood bond that protects them both. They flee together, traversing waters teeming with the undead. As the lines between duty to their people and desire for each other begin to blur, Imogen worries her ancestral powers may not be enough to kill what hunts her—the only way to defeat a monster may be to become one herself.