“Girls Girls Girls floored me. . . . It’s completely extraordinary.” —Catherine Newman, New York Times bestselling author of Sandwich A vibrant queer Jewish debut “teeming with heart, angst, love, and self discovery” (Emily Austin) about a young woman who, caught between the expectations of others and her own evolving desires, is forced to make a series of fraught life-altering decisions. It’s the summer of ’96 and best friends (and secret girlfriends) Hannah and Sam are driving across the country from Long Beach, New York, to the fabled queer paradise of San Francisco, free from the harsh gazes of their neighbors and the stifling demands of Hannah’s devout Orthodox Jewish mother. In San Francisco, they will finally be together as a real couple, out in the open, around other queer people. Even if the move means leaving behind Hannah’s beloved Bubbe. When the financial strains of West Coast living push the girls to start stripping at The Chez Paree—yet another secret Hannah must keep from her family—Hannah feels trapped. Sam wants her at the club, but Hannah hates stripping nearly as much as she hates disappointing Sam. Then Hannah meets Chris, an older butch lesbian, who is immediately taken with her. Desperate to stay in San Francisco, but away from the leering men at the club, Hannah proposes an escort arrangement. But as Hannah falls deeper into Chris’ world and Sam starts to meet new queer friends, a rift forms between them. Without Sam, who is Hannah? And what becomes of San Francisco to Hannah alone—a space rich with queer possibility, or an intimidating, unfamiliar place, just as lonely as the one she’d left behind? An achingly tender and resonant story of survival, first love, and growing up queer in the ’90s, Girls Girls Girls is a piercing exploration of the choices we make in the thrilling and often confounding search for ourselves and home.

A gorgeously drawn graphic novel reminiscent of stained glass and illuminated manuscripts, telling a story of queer transmasc romance, daring adventure, and (literally) fighting your demons. Jules is a trans man trapped in his life as a nun. The devil that the convent guards against offers him a deal to escape: an illicit tryst and lifelong possession. Jules takes the deal, and begins his new life as a criminal who's impervious to harm. He soon meets Casper, another trans man and a poetic thief, and together they steal, lie, and cheat their way through bewildering adventures, and develop feelings for each other along the way. But as Jules and Casper's relationship deepens, so does the devil's jealous grasp...

In his memoir Free Lunch, Rex Ogle’s abuela features as a source of love and support. In this companion memoir-in-verse, Rex captures and celebrates the powerful presence a woman he could always count on—to give him warm hugs and ear kisses, to teach him precious words in Spanish, to bring him to the library where he could take out as many books as he wanted, and to offer safety when darkness closed in. Throughout a coming of age marked by violence and dysfunction, Abuela’s red-brick house in Abilene, Texas, offered Rex the possibility of home, and Abuela herself the possibility for a better life.

In his memoir Free Lunch, Rex Ogle’s abuela features as a source of love and support. In this companion memoir-in-verse, Rex captures and celebrates the powerful presence a woman he could always count on—to give him warm hugs and ear kisses, to teach him precious words in Spanish, to bring him to the library where he could take out as many books as he wanted, and to offer safety when darkness closed in. Throughout a coming of age marked by violence and dysfunction, Abuela’s red-brick house in Abilene, Texas, offered Rex the possibility of home, and Abuela herself the possibility for a better life.

In Alison Bechdel’s hilariously skewering and gloriously cast new comic novel confection, a cartoonist named Alison Bechdel, running a pygmy goat sanctuary in Vermont, is existentially irked by a climate-challenged world and a citizenry on the brink of civil war. Can she pull humanity out of its death spiral by writing a scathingly self-critical memoir about her own greed and privilege? Meanwhile, Alison’s first graphic memoir about growing up with her father, a taxidermist who specialized in replicas of Victorian animal displays, has been adapted into a highly successful TV series. It’s a phenomenon that makes Alison, formerly on the cultural margins, the envy of her friend group (recognizable as characters, now middle-aged and living communally in Vermont, from Bechdel’s beloved comic strip Dykes to Watch Out For). As the TV show Death and Taxidermy racks up Emmy after Emmy—and when Alison’s Pauline Bunyanesque partner Holly posts an instructional wood-chopping video that goes viral—Alison’s own envy spirals. Why couldn’t she be the writer for a critically lauded and wildly popular reality TV show…like Queer Eye...showing people how to free themselves from consumer capitalism and live a more ethical life? Spent’s rollicking and masterful denouement—making the case for seizing what’s true about life in the world at this moment, before it’s too late—once again proves that “nobody does it better” (New York Times Book Review) than the real Alison Bechdel.

S.T. Gibson's sensational novel is the darkly seductive tale of Dracula's first bride, Constanta. This is my last love letter to you, though some would call it a confession. . . Saved from the brink of death by a mysterious stranger, Constanta is transformed from a medieval peasant into a bride fit for an undying king. But when Dracula draws a cunning aristocrat and a starving artist into his web of passion and deceit, Constanta realizes that her beloved is capable of terrible things. Finding comfort in the arms of her rival consorts, she begins to unravel their husband's dark secrets. With the lives of everyone she loves on the line, Constanta will have to choose between her own freedom and her love for her husband. But bonds forged by blood can only be broken by death.

An exquisite exploration of the power of flowers, placing them at the center of the story of how evolution created the world we know todayWe live on a floral planet, yet flowers don’t get the credit they deserve. We admire them for their aesthetics, not their world-changing power. Inspired by the most up-to-date scientific research, David George Haskell observes, smells, and studies flowers such as magnolias, orchids, and roses, as well as fascinating but less well-known flowers such as seagrasses, to show us what we've been missing. Flowers are beautiful revolutionaries. When they evolved, they remade the natural They used beauty to transform former enemies into cooperative partners. They reinvented plant growth, sex, and motherhood. Through radical genetic flexibility, they turned past environmental upheavals into opportunities for renewal. This inventiveness allowed them to build and sustain rain forests, savannahs, prairies, and even ocean shores.Without flowers, human beings would not exist. We are a floral species, dependent on flowers for food and our habitats, as well as using flowers for beauty, scent, and culturally important rituals. Looking to the future, flowers offer us lessons on resilience and creativity in the face of rapid environmental change. How Flowers Made Our World combines lyrical writing, sensual exploration, and scientific expertise to explore some of the most consequential life forms ever to have evolved, showing how our planet came to be and how it thrives today.

S.T. Gibson's sensational novel is the darkly seductive tale of Dracula's first bride, Constanta. This is my last love letter to you, though some would call it a confession. . . Saved from the brink of death by a mysterious stranger, Constanta is transformed from a medieval peasant into a bride fit for an undying king. But when Dracula draws a cunning aristocrat and a starving artist into his web of passion and deceit, Constanta realizes that her beloved is capable of terrible things. Finding comfort in the arms of her rival consorts, she begins to unravel their husband's dark secrets. With the lives of everyone she loves on the line, Constanta will have to choose between her own freedom and her love for her husband. But bonds forged by blood can only be broken by death.

In the 1920s, the richest people per capita in the world were members of the Osage Indian nation in Oklahoma. After oil was discovered beneath their land, the Osage rode in chauffeured automobiles, built mansions, and sent their children to study in Europe. Then, one by one, the Osage began to be killed off. The family of an Osage woman, Mollie Burkhart, became a prime target. Her relatives were shot and poisoned. And it was just the beginning, as more members of the tribe began to die under mysterious circumstances. In this last remnant of the Wild West—where oilmen such as J. P. Getty made their fortunes and where desperadoes such as Al Spencer, the “Phantom Terror,” roamed—many of those who dared to investigate the killings were themselves murdered. As the death toll climbed to more than twenty-four, the relatively new FBI took over. It was one of the organization’s first major homicide cases but the bureau badly bungled the investigation. In desperation, the young director, J. Edgar Hoover, turned to a former Texas Ranger named Tom White to unravel the mystery. White put together an undercover team, including an American Indian agents in the bureau. Together with the Osage they began to expose one of the most chilling conspiracies in American history. In Killers of the Flower Moon, David Grann revisits a shocking series of crimes in which dozens of people were murdered in cold blood. Based on years of research and startling new evidence, the book is a masterpiece of narrative nonfiction, as each step in the investigation reveals a series of sinister secrets and reversals. But more than that, it is a searing indictment of the callousness and prejudice toward American Indians that allowed the murderers to operate with impunity for so long. Killers of the Flower Moon is utterly compelling, but also emotionally devastating.