Amidst the devastation of Ireland’s Great Famine, a young woman is salvaged from certain death when offered a mysterious position at a remote manor house haunted by a strange power and the horror of her own memories in this chillingly evocative historical novel braided with gothic horror and supernatural suspense for readers of Katherine Arden’s The Warm Hands of Ghosts and The Silence Factory by Bridget Collins.County Clare, 1848: In the scant few years since the potato blight first cast its foul shadow over Ireland, Maggie O’Shaughnessy has lost everything—her entire family and the man she trusted with her heart. Toiling in the Ennis Workhouse for paltry rations, she can see no future either within or outside its walls—until the mysterious Lady Catherine arrives to whisk her away to an old mansion in the stark limestone landscape of the Burren. Lady Catherine wants Maggie to impersonate her late daughter, Wilhelmina, and hoodwink solicitors into releasing Wilhelmina’s widow pension so that Lady Catherine can continue to provide for the villagers in her care. In exchange, Maggie will receive freedom from the workhouse, land of her own, and the one thing she wants more than a chance to fulfill the promise she made to her brother on his deathbed—to live to spite them all. Launching herself into the daunting task, Maggie plays the role of Wilhelmina as best she can while ignoring the villagers’ tales of ghostly figures and curses. But more worrying are the whispers that come from within. Something in Lady Catherine’s house is reawakening long-buried memories in Maggie—of a foe more terrifying than hunger or greed, of a power that calls for blood and vengeance, and of her own role in a nightmare that demands the darkest sacrifice . . .

The Turn of the Screw is an 1898 horror novella by Henry James that first appeared in serial format in Collier's Weekly magazine (January 27 - April 16, 1898). In October 1898 it appeared in The Two Magics, a book published by Macmillan in New York City and Heinemann in London. A very young woman's first job: governess for two weirdly beautiful, strangely distant, oddly silent children, Miles and Flora, at a forlorn estate... An estate haunted by a beckoning evil. Half-seen figures who glare from dark towers and dusty windows- silent, foul phantoms who, day by day, night by night, come closer, ever closer. With growing horror, the helpless governess realizes the fiendish creatures want the children, seeking to corrupt their bodies, possess their minds, own their souls. But worse-much worse- the governess discovers that Miles and Flora have no terror of the lurking evil. For they want the walking dead as badly as the dead want them. Excerpt: I remember the whole beginning as a succession of flights and drops, a little seesaw of the right throbs and the wrong. After rising, in town, to meet his appeal, I had at all events a couple of very bad days - found myself doubtful again, felt indeed sure I had made a mistake. In this state of mind I spent the long hours of bumping, swinging coach that carried me to the stopping place at which I was to be met by a vehicle from the house.

An actress desperate to reclaim her fame must survive the real-life plot of the horror movie that made her famous in this psychologically twisted locked-room thriller influenced by '90s slasher films.Twenty years ago, Ella Winters was the it girl. She made a name for herself in Hollywood and throughout America as the final survivor in the cult-classic slasher Grad Night. But the real horror is what happened when the cameras weren’t rolling—something terrible that Ella and her co-stars agreed never to speak of again. Shortly after the movie's premiere, Ella disappeared from the acting scene under the pretense of caring for her ailing mother, hoping for a quiet life out of the spotlight to ease her guilty mind.Now, after her mother’s passing, Ella has decided to return to the silver screen. And with the cast and crew of Grad Night in the process of filming a reunion documentary, Ella has the perfect ticket back into Hollywood's good graces. Weighed down by the secret she’s been keeping all these years, Ella apprehensively makes the trip to the original set—a cabin in rural Tennessee—to reunite with her castmates for the first time in over a decade. But when the actors begin to meet the exact gruesome fates of the characters they originally played, falling victim to someone dressed as the Grad Night villain, it's clear their secret is out.Now, the question Can the final girl survive one last nightmare?

An actress desperate to reclaim her fame must survive the real-life plot of the horror movie that made her famous in this psychologically twisted locked-room thriller influenced by '90s slasher films.Twenty years ago, Ella Winters was the it girl. She made a name for herself in Hollywood and throughout America as the final survivor in the cult-classic slasher Grad Night. But the real horror is what happened when the cameras weren’t rolling—something terrible that Ella and her co-stars agreed never to speak of again. Shortly after the movie's premiere, Ella disappeared from the acting scene under the pretense of caring for her ailing mother, hoping for a quiet life out of the spotlight to ease her guilty mind.Now, after her mother’s passing, Ella has decided to return to the silver screen. And with the cast and crew of Grad Night in the process of filming a reunion documentary, Ella has the perfect ticket back into Hollywood's good graces. Weighed down by the secret she’s been keeping all these years, Ella apprehensively makes the trip to the original set—a cabin in rural Tennessee—to reunite with her castmates for the first time in over a decade. But when the actors begin to meet the exact gruesome fates of the characters they originally played, falling victim to someone dressed as the Grad Night villain, it's clear their secret is out.Now, the question Can the final girl survive one last nightmare?

The Turn of the Screw is an 1898 horror novella by Henry James that first appeared in serial format in Collier's Weekly magazine (January 27 - April 16, 1898). In October 1898 it appeared in The Two Magics, a book published by Macmillan in New York City and Heinemann in London. A very young woman's first job: governess for two weirdly beautiful, strangely distant, oddly silent children, Miles and Flora, at a forlorn estate... An estate haunted by a beckoning evil. Half-seen figures who glare from dark towers and dusty windows- silent, foul phantoms who, day by day, night by night, come closer, ever closer. With growing horror, the helpless governess realizes the fiendish creatures want the children, seeking to corrupt their bodies, possess their minds, own their souls. But worse-much worse- the governess discovers that Miles and Flora have no terror of the lurking evil. For they want the walking dead as badly as the dead want them. Excerpt: I remember the whole beginning as a succession of flights and drops, a little seesaw of the right throbs and the wrong. After rising, in town, to meet his appeal, I had at all events a couple of very bad days - found myself doubtful again, felt indeed sure I had made a mistake. In this state of mind I spent the long hours of bumping, swinging coach that carried me to the stopping place at which I was to be met by a vehicle from the house.

A revolutionary new paradigm for understanding addictionWhy do people with addiction use drugs self-destructively? Why don’t they quit out of self-concern? Why does the rat in the experiment, alone in a cage, press the lever again and again for cocaine—to the point of death? In this pathbreaking book, Hanna Pickard proposes a new paradigm for understanding the puzzle of addiction. For too long, our thinking has been hostage to a false either addiction is a brain disease, or it is a moral failing. Pickard argues that it is neither, and that both models stifle addiction research and fail people who need help.Drawing on her expertise as an academic philosopher and her clinical work in a therapeutic community, Pickard explores the meaning of drugs for people with addiction and the diverse factors that keep them using despite the costs. People use drugs to cope with suffering—but also to self-harm, or even to die. Some identify as “addicts," while others are in denial or struggle with cravings and self-control. Social, cultural, and economic circumstances are crucial to explaining addiction—but brain pathology may also matter. By integrating addiction science with philosophy, clinical practice, and the psychology and voices of people with addiction themselves, Pickard shows why there is no one-size-fits-all theory or ethics of addiction. The result is a heterogeneous and humanistic paradigm for understanding and treating addiction, and a fresh way of thinking about responsibility, blame, and relationships with people who use drugs.

Since the 1970s, FantasticLand has been the theme park where “Fun is Guaranteed!” But when a hurricane ravages the Florida coast and isolates the park, the employees find it anything but fun. Five weeks later, the authorities who rescue the survivors encounter a scene of horror. Photos soon emerge online of heads on spikes outside of rides and viscera and human bones littering the gift shops, breaking records for hits, views, likes, clicks, and shares. How could a group of survivors, mostly teenagers, commit such terrible acts?Presented as a fact-finding investigation and a series of first-person interviews, FantasticLand pieces together the grisly series of events. Park policy was that the mostly college-aged employees surrender their electronic devices to preserve the authenticity of the FantasticLand experience. Cut off from the world and left on their own, the teenagers soon form rival tribes who viciously compete for food, medicine, social dominance, and even human flesh. This new social network divides the ravaged dreamland into territories ruled by the Pirates, the ShopGirls, the Freaks, and the Mole People. If meticulously curated online personas can replace private identities, what takes over when those constructs are lost? FantasticLand is a modern take on Lord of the Flies meets Battle Royale that probes the consequences of a social civilization built online.

Since the 1970s, FantasticLand has been the theme park where “Fun is Guaranteed!” But when a hurricane ravages the Florida coast and isolates the park, the employees find it anything but fun. Five weeks later, the authorities who rescue the survivors encounter a scene of horror. Photos soon emerge online of heads on spikes outside of rides and viscera and human bones littering the gift shops, breaking records for hits, views, likes, clicks, and shares. How could a group of survivors, mostly teenagers, commit such terrible acts?Presented as a fact-finding investigation and a series of first-person interviews, FantasticLand pieces together the grisly series of events. Park policy was that the mostly college-aged employees surrender their electronic devices to preserve the authenticity of the FantasticLand experience. Cut off from the world and left on their own, the teenagers soon form rival tribes who viciously compete for food, medicine, social dominance, and even human flesh. This new social network divides the ravaged dreamland into territories ruled by the Pirates, the ShopGirls, the Freaks, and the Mole People. If meticulously curated online personas can replace private identities, what takes over when those constructs are lost? FantasticLand is a modern take on Lord of the Flies meets Battle Royale that probes the consequences of a social civilization built online.

When a summer storm sweeps through a sleepy town unleashing a monstrous and otherworldy power that threatens to break reality, Olivia will stop at nothing to find her best friend and get them to safety. Mona Awad’s Bunny meets Stranger Things in this mind-bending and terrifying examination of female friendship and the lengths we'll go to protect the ones we love, from the Bram Stoker award winning author of Queen of Teeth. Three years after running away from home, Olivia is stuck with a dead-end job in nowhere town Chapel Hill, Pennsylvania. At least she has her best friend, Sunflower. Olivia figures she’ll die in Chapel Hill, if not from boredom, then the summer night storm which crashes into town with a mind-bending monster in tow. If Olivia’s going to escape Chapel Hill and someday reconcile with her parents, she’ll need to dodge residents enslaved by the storm’s otherworldly powers and find Sunflower. But as the night strains friendships and reality itself, Olivia suspects the storm, and its monster, may have its eyes on Sunflower and everything she loves. Including Olivia.

A couple on an outdoor retreat meet their doppelgangers on a hiking trail and are soon tested on how well they truly know each other.

A haunting, indelible novel of collective grief, resistance, and the radical, life-affirming virtue of testimony A. is an amateur translator, living alone in an unforgiving, late-capitalist metropolis. Adrift and burdened by debt following a medical trauma, she makes rent caring for a young boy who is not and could never be her own. Her nights are spent on the dance floor, chasing spontaneous connection. There, she encounters N., who shares her numbed state and sometimes her bed. Among N.’s meager possessions, A. comes across a slim book about an unnamed foreign town of disappearing boys. The book, Field Notes, documents the stories of a community of mothers who assemble to mourn their missing sons together. A. is transfixed by this collective chorus of primal grief, the mothers’ preternatural strength, and their intuitive care for each other. When a near-assault stuns A. out of her inertia, she takes off for the city where Field Notes was written in search of its author and the end of his story. But A.’s digging leads her instead to the traces of a murdered poet, a mysterious woman whose legacy will intersect unexpectedly and pivotally with A.’s own life. Poignant and profoundly humane, Mass Mothering is told through layered voices, written fragments, and recorded testimonies. It is a luminous story of the mutuality of grief, the aftershocks of violence in a globalized era, and the world-bending force of a mother’s love.

A haunting, indelible novel of collective grief, resistance, and the radical, life-affirming virtue of testimony A. is an amateur translator, living alone in an unforgiving, late-capitalist metropolis. Adrift and burdened by debt following a medical trauma, she makes rent caring for a young boy who is not and could never be her own. Her nights are spent on the dance floor, chasing spontaneous connection. There, she encounters N., who shares her numbed state and sometimes her bed. Among N.’s meager possessions, A. comes across a slim book about an unnamed foreign town of disappearing boys. The book, Field Notes, documents the stories of a community of mothers who assemble to mourn their missing sons together. A. is transfixed by this collective chorus of primal grief, the mothers’ preternatural strength, and their intuitive care for each other. When a near-assault stuns A. out of her inertia, she takes off for the city where Field Notes was written in search of its author and the end of his story. But A.’s digging leads her instead to the traces of a murdered poet, a mysterious woman whose legacy will intersect unexpectedly and pivotally with A.’s own life. Poignant and profoundly humane, Mass Mothering is told through layered voices, written fragments, and recorded testimonies. It is a luminous story of the mutuality of grief, the aftershocks of violence in a globalized era, and the world-bending force of a mother’s love.