In the near future, lab-grown sex dolls are the pleasure toy of choice in this disturbing and provocative short story from Lauren Beukes, the bestselling author of The Shining Girls. Actor and sex worker Nats is experienced at putting on a show. However, her new gig supplying intimate whispers for growgirls takes her to a place darker and lonelier than she could have ever imagined. The lab-grown dolls can respond to pleasure or pain; their synthetic heads contain only the simplest AI to prevent any pesky robo sex doll uprisings. But just because growgirls don’t have a brain, doesn’t mean they don’t have a voice… Ungirls is part of Disorder, a collection of six short stories of living nightmares, chilling visions, and uncanny imagination that explore a world losing its balance in terrifying ways. Each piece can be read or listened to in a single disorienting sitting.

From the author of Wait, Blink and Knots, Gunnhild Øyehaug's Present Tense Machine is a playful and transcendent novel about language, family, and parallel universes. On an ordinary day in Bergen, Norway, in the late 1980s, Anna is reading in the garden while her two-year-old daughter, Laura, plays on her tricycle. Then, in one startling moment, Anna misreads a word, an alternate universe opens up, and Laura disappears. Twenty years or so later, life has gone on as if nothing happened, but in each of the women's lives, something is not quite right. Both Anna and Laura continue to exist, but they are invisible to each other and forgotten in each other's worlds. Both are writers and amateur pianists. They are married; Anna had two more children after Laura disappeared, and Laura is expecting a child of her own. They worry about their families, their jobs, the climate--and whether this reality is all there is. In the exquisite, wistful, slyly profound Present Tense Machine, Gunnhild Øyehaug--called "one of the most exciting writers working today" by the bestselling author Jenny Offill--delivers another dazzling renovation of what fiction can do: a testament to the fact that language shapes the world.

Two couples, two close friends, one missing husband… Jake Hayes is missing. This much is certain. At first, his wife, Nina, thinks he is blowing off steam at a friend’s house after their heated fight the night before. But then a day goes by. Two days. Five. And Jake is still nowhere to be found. Lily Scott, Nina’s friend and coworker, thinks she may have been the last to see Jake before he went missing. After Lily confesses everything to her husband, Christian, the two decide that nobody can find out what happened leading up to Jake’s disappearance, especially not Nina. But Nina is out there looking for her husband, and she won’t stop until the truth is discovered.

In 2024, with the world descending into madness and anarchy, one woman begins a fateful journey toward a better future. Lauren Olamina and her family live in one of the only safe neighborhoods remaining on the outskirts of Los Angeles. Behind the walls of their defended enclave, Lauren’s father, a preacher, and a handful of other citizens try to salvage what remains of a culture that has been destroyed by drugs, disease, war, and chronic water shortages. While her father tries to lead people on the righteous path, Lauren struggles with hyperempathy, a condition that makes her extraordinarily sensitive to the pain of others. When fire destroys their compound, Lauren’s family is killed and she is forced out into a world that is fraught with danger. With a handful of other refugees, Lauren must make her way north to safety, along the way conceiving a revolutionary idea that may mean salvation for all mankind.

Jericho Brown’s daring new book The Tradition details the normalization of evil and its history at the intersection of the past and the personal. Brown’s poetic concerns are both broad and intimate, and at their very core a distillation of the incredibly human: What is safety? Who is this nation? Where does freedom truly lie? Brown makes mythical pastorals to question the terrors to which we’ve become accustomed, and to celebrate how we survive. Poems of fatherhood, legacy, blackness, queerness, worship, and trauma are propelled into stunning clarity by Brown’s mastery, and his invention of the duplex―a combination of the sonnet, the ghazal, and the blues―testament to his formal skill. The Tradition is a cutting and necessary collection, relentless in its quest for survival while revelling in a celebration of contradiction.

A gothic feminist body horror in two timelines revolving around three Anatomical Venuses—ultrarealistic wax figures of women—that come to life at night to murder men who have wronged themSeoul, present day. Antiques dealer Alys’s task is nearly complete. She has at last secured Elizabeth, the third and final Anatomical Venus. Crafted in eighteenth-century London and modeled after real-life sex workers to entice male medical students, these eerie wax figures, known as slashed beauties, carry unsavory lore. Legend has it that the figures are bewitched, and come to life at night to murder men who have wronged them. Now Alys embarks for England, where she knows what she must sever her cursed connection to the Venuses once and for all.London, 1763. Abandoned and penniless in Covent Garden, wide-eyed Eleanor and another young woman, Emily, are taken under the wing of beautiful and beguiling Elizabeth, one of the city’s most highly desired courtesans among the rich and powerful. But as Eleanor is seduced deeper into a web of money, materialism, and men, it seems that Elizabeth may not be the savior she appears to be.As the timelines begin to intersect, it becomes clear that the women’s stories are linked in deeper, darker ways than it initially seems. And that the only method for Alys to end the witchcraft that binds her legacy is to gather all three models in one place and destroy them.However, these haunted, murderous dolls might not be ready to burn.

Bunny meets The Craft in this speculative debut about four best friends who perform a ritual on the moon in a last-ditch attempt to hold onto one another but are forced to reckon with the consequences.It is the summer after high school graduation, and four island-grown best friends are about to be forced apart by their Plans for the Future. Rather than process the world of expectations bearing down on them or the secrets they’ve kept hidden even from one another, they perform a ritual on the moon in an impulsive fit of teen bravado. They don’t expect it to actually work. But suddenly the moon is gone from the sky and at their sleepover, and she’s not interested in going back where she came from. As the balmy August night unfolds, the girls scramble to find a human sacrifice to replace the moon before their world is plunged into chaos. Equally tender and biting, We Hexed the Moon is coming-of-age at its best, cutting to the very quick of girlhood to reveal hilarious and brutally honest insights about friendship, gender, and desire.

In perhaps the most magnificent of what he called his 'strange stories', Robert Aickman blurs the lines between memory, premonition and the hallucinated life. Lene, a woman now recovering from the losses of the Second World War, recalls a gothic dolls' house of her childhood and the way in which its uncanny inhabitants entered her dreams. Most chillingly, the geometries of the house didn't add up; there had to be a secret room inside it. Years later, she comes across a life-size version in a wood not marked on any map . . .

Well, thought Belacqua, it's a quick death, God help us all.It is not.'Dante and the Lobster' is the first of the linked short stories in Samuel Beckett's first book, More Pricks Than Kicks. Published in 1934, its style was recognisably indebted to that of his mentor, James Joyce, and crammed with linguistic texture and allusion that Beckett later shed. The book baffled many critics and sold so few copies that several batches were pulped.Decades later, this story was hailed as the Nobel Prize-winner's earliest important work.