There is something haunting Nuhad's childhood home in Haifa. Cats avoid its perimeter, strange noises come from within, and residents have been known to disappear entirely in its walls without a trace.Our Cut of Salt is an unflinching, sinister and moving take on the haunted house novel, from a bold new Palestinian voice. Perfect for fans of The Only Good Indians and The Haunting of Hill House.Although Nuhad has not returned to her home since the Nakba in 1948, she always held a place for the house in her heart. And, in return, the house did the same for her. After Nuhad passes away, her granddaughter, Marina, is determined to visit her grandmother's home in Haifa after a lifetime of being kept in the dark about her culture and family history. Marina's mother, Haifa-named for the city that was lost to their family-reluctantly agrees to her trip, despite her omnipresent anxiety. When a long-buried spirit of the past begins to haunt both dreams and waking life, Marina develops breathing problems that cause her to feel as if she is drowning on dry land. Despite Nuhad's warnings, Haifa rushes to help her daughter. As the three women converge in their ancestral haunted home, they must learn what the price of the past truly is.

A magisterial epic—an intimate yet sweeping novel with all the luminescence and force of Homegoing; Sing, Unburied, Sing; and The Water Dancer—that chronicles the journey of one American family, from the centuries of the colonial slave trade through the Civil War to our own tumultuous era. The great scholar, W. E. B. Du Bois, once wrote about the Problem of race in America, and what he called “Double Consciousness,” a sensitivity that every African American possesses in order to survive. Since childhood, Ailey Pearl Garfield has understood Du Bois’s words all too well. Bearing the names of two formidable Black Americans—the revered choreographer Alvin Ailey and her great grandmother Pearl, the descendant of enslaved Georgians and tenant farmers—Ailey carries Du Bois’s Problem on her shoulders. Ailey is reared in the north in the City but spends summers in the small Georgia town of Chicasetta, where her mother’s family has lived since their ancestors arrived from Africa in bondage. From an early age, Ailey fights a battle for belonging that’s made all the more difficult by a hovering trauma, as well as the whispers of women—her mother, Belle, her sister, Lydia, and a maternal line reaching back two centuries—that urge Ailey to succeed in their stead. To come to terms with her own identity, Ailey embarks on a journey through her family’s past, uncovering the shocking tales of generations of ancestors—Indigenous, Black, and white—in the deep South. In doing so Ailey must learn to embrace her full heritage, a legacy of oppression and resistance, bondage and independence, cruelty and resilience that is the story—and the song—of America itself.

Solitary Mathilda has long harbored a conflicted enchantment bordering on rapture with the "Bright Young Things," the Bloomsbury Group, and their contemporaries of the '20s and '30s, and throughout her life her attempts at reinvention have mirrored their extravagance and artfulness. After discovering a photograph of the forgotten Black modernist poet Hermia Druitt, who ran in the same circles as the Bright Young Things, Mathilda becomes transfixed and resolves to learn as much as she can about the mysterious figure. Her search brings her to a peculiar artists’ residency in Dun, a small European town in which Hermia was known to have lived during the '30s. The artists’ residency throws her deeper into a lattice of secrets and secret societies that takes hold of her aesthetic imagination. From champagne theft and Black Modernisms to art sabotage, alchemy, and a lotus-eating proto-luxury communist cult, Mathilda’s “Escapes” through modes of aesthetic expression lead her to question the convoluted ways truth is made and obscured.

Coworkers at a legendary but troubled New York City museum struggle with issues large and small over the course of one extraordinary day in this whip-smart “marvel” (Mona Awad, bestselling author of Bunny) of a novel in the vein of The White Lotus. When Diane Schwebe, the director of a major New York museum, is awakened in the early morning by a text message from the museum’s lawyer, it is the start of a twenty-four hour roller-coaster ride. Diane has sacrificed many things in her life to help the fading institution stave off irrelevance and financial ruin. In this battle, she’s surrounded by her stalwart her enigmatic and tireless personal assistant, Chris; the museum’s trusty head of security, Shay; and its general counsel, Henry—a man whose ability to weasel his way out of a jam is matched only by his capacity to avoid learning anything from the experience. Orbiting Diane is a motley assortment of museum employees, each on the precipice of collapse or among them a line cook staring down a huge opportunity he’s not sure he wants; a costume curator stuck in an inescapable rut; and the ambivalent curator of the museum’s film program, whose first day on the job might very well be his last. On this day of the museum’s annual gala, every plate that Diane has kept spinning will fall and by daybreak, someone will be dead. Wise, surprising, and darkly funny, Friends of the Museum is a kaleidoscopic tragicomedy that surges along to the unstoppable tick of the clock, leaving you on the edge of your seat until the final second.

A stunning reinvention of the myth of Narcissus as a modern novel of manners, about two young, well-heeled couples whose parallel lives intertwine over the course of a summer, by a sharp new voice in fiction. Wes and Diana are the kind of privileged, well-educated, self-involved New Yorkers you may not want to like but can't help wanting to like you. With his boyish good looks, blue-blood pedigree, and the recent tidy valuation of his tech startup, Wes would have made any woman weak in the knees—any woman, that is, except perhaps his wife. Brilliant to the point of cunning, Diana possesses her own arsenal of charms, handily deployed against Wes in their constant wars of will and rhetorical sparring. Vivien and Dale live in Philadelphia, but with ties to the same prep schools and management consulting firms as Wes and Diana, they’re of the same ilk. With a wedding date on the horizon and carefully curated life of coupledom, Vivien and Dale make a picture-perfect pair on Instagram. But when Vivien becomes a visiting curator at The Metropolitan Museum of Art just as Diana is starting a new consulting project in Philadelphia, the two couples’ lives cross and tangle. It’s the summer of 2015 and they’re all enraptured by one another and too engulfed in desire to know what they want—despite knowing just how to act. In this wickedly fun debut, A. Natasha Joukovsky crafts an absorbing portrait of modern romance, rousing real sympathy for these flawed characters even as she skewers them. Shrewdly observed, whip-smart, and shot through with wit and good humor, The Portrait of a Mirror is a piercing exploration of narcissism, desire, self-delusion, and the great mythology of love.

Before Dracula, there were The Brides. . . 1903. Sir John Seward, survivor of Count Dracula’s murderous campaign ten years before, takes up a post as a psychiatric doctor at an Oxford public asylum. There, a new patient arrives whose traumatic experiences resurrect horrors John has spent a decade trying to forget. 1884. Mafalda Lowell journeys from London to Budapest to care for her recently widowed aunt Reka. She uncovers the chilling truth about her uncle’s death, and writes to her secret love Lucy North for comfort. Chaperoned by former schoolfriend Eliza and lady’s maid Alice, Lucy travels across the continent to be with her beloved. Only Alice, beset by nightmares and terrifying visions, notices the strange black-clad man who seems to follow them wherever they go. When Eliza is struck down with a mysterious wasting illness, her doctor orders her to take the healing waters of Transylvania, a journey with devastating consequences. There was meant to be four . . . A dual timeline novel, told through letters, diary entries, psychiatric reports, that places women at the centre of literature's most famous vampire story.

A Taiwanese American woman’s coming-of-consciousness ignites eye-opening revelations and chaos on a college campus in this outrageously hilarious and startlingly tender debut novel. Twenty-nine-year-old PhD student Ingrid Yang is desperate to finish her dissertation on the late canonical poet Xiao-Wen Chou and never read about “Chinese-y” things again. But after years of grueling research, all she has to show for her efforts are junk food addiction and stomach pain. When she accidentally stumbles upon a curious note in the Chou archives one afternoon, she convinces herself it’s her ticket out of academic hell. But Ingrid’s in much deeper than she thinks. Her clumsy exploits to unravel the note’s message lead to an explosive discovery, upending not only her sheltered life within academia but her entire world beyond it. With her trusty friend Eunice Kim by her side and her rival Vivian Vo hot on her tail, together they set off a roller coaster of mishaps and misadventures, from book burnings and OTC drug hallucinations, to hot-button protests and Yellow Peril 2.0 propaganda. In the aftermath, nothing looks the same to Ingrid—including her gentle and doting fiancé, Stephen Greene. When he embarks on a book tour with the super kawaii Japanese author he’s translated, doubts and insecurities creep in for the first time… As the events Ingrid instigated keep spiraling, she’ll have to confront her sticky relationship to white men and white institutions—and, most of all, herself. For readers of Paul Beatty’s The Sellout and Charles Yu’s Interior Chinatown, this uproarious and bighearted satire is a blistering send-up of privilege and power in America, and a profound reckoning of individual complicity and unspoken rage. In this electrifying debut novel from a provocative new voice, Elaine Hsieh Chou asks who gets to tell our stories—and how the story changes when we finally tell it ourselves.

In Upright Women Wanted, award-winning author Sarah Gailey reinvents the pulp Western with an explicitly antifascist, near-future story of queer identity.“That girl’s got more wrong notions than a barn owl’s got mean looks.”Esther is a stowaway. She’s hidden herself away in the Librarian’s book wagon in an attempt to escape the marriage her father has arranged for her—a marriage to the man who was previously engaged to her best friend. Her best friend who she was in love with. Her best friend who was just executed for possession of resistance propaganda. The future American Southwest is full of bandits, fascists, and queer librarian spies on horseback trying to do the right thing.

Vagablonde is a darkly humorous, rollercoaster ride through the Los Angeles music scene about a woman who wants two things, the first is to live without psychotropic medication, and the second is to experience success as an artist. A cautionary tale about viral fame, Vagablonde speaks directly to our time in biting detail. Prue Van Teesen is thriving. That is, her life looks good on paper. She has an easy government job, a nice girlfriend, and a budding music career. When Prue is introduced to producer Jax Jameson, they instantly click. Prue soon joins Jax in his “Kingdom,” a collective of musicians and artists who share Prue’s aesthetic sensibilities and lust for escapism. Soon, she's off her meds, closing her law practice, and becoming entangled with a suspect crew of heavy drug users. But the group they form, Shiny AF, is starting to take off and Prue is on the precipice of getting everything she thought she wanted. So, why is she still so miserable?