Out on the Yorkshire Moors lives a secret line of people for whom books are food, and who retain all of a book's content after eating it. To them, spy novels are a peppery snack; romance novels are sweet and delicious. Eating a map can help them remember destinations, and children, when they misbehave, are forced to eat dry, musty pages from dictionaries. Devon is part of The Family, an old and reclusive clan of book eaters. Her brothers grow up feasting on stories of valor and adventure, and Devon—like all other book eater women—is raised on a carefully curated diet of fairy tales and cautionary stories. But real life doesn't always come with happy endings, as Devon learns when her son is born with a rare and darker kind of hunger—not for books, but for human minds.

Desperate for answers about her friend’s disappearance, Waka breaches the Tokyo danger zone in search of clues. Instead, she finds Tokinaga, a researcher with the Anti-God Science Institute. While Waka tries to decide if she should trust Tokinaga, he quickly realizes Waka is hiding a dangerous secret of her own—one that may just be the key to killing off the gods once and for all.

Fledgling English lawyer Jonathan Harker treks into the Carpathian Mountains to complete a real estate transaction—despite the frightening warnings of the horrible dangers that await him. Harker’s client is the ancient Count Dracula, who lives in a sumptuously furnished castle—one strangely devoid of mirrors. Harker soon realizes that the Count’s interest in London is more than idle curiosity, and is woefully unprepared for the Count’s obsession with Harker’s fiancée, Mina . . .

From bestselling author Maddie Martinez comes a deliciously dark sapphic retelling of The Phantom of the Opera drenched in Polish folklore–perfect for fans of Ava Reid, Catherynne M. Valente, and S.T. Gibson. A tale of obsession and desire… The city of Larzég glitters as bright as its famous Nectar Performance House, where violinist Kasia has worked her fingers to the bone to chase one dream: becoming Perła, the theater’s prestigious concertmaster. When the current Perła mysteriously dies during a performance, Kasia refuses to be distracted by whispers of a phantom in the theater’s wings. All she sees is her chance to replace the fallen star—until the orchestra director refuses her an audition because of her Azjarian heritage. Devastated, Kasia is desperate enough to strike a bargain with the phantom of the theater—revealed to be Death herself. Behind her dark veil, Lady Death is prepared to help Kasia in her quest to become Perła, if Kasia becomes her companion. But one cannot be companion to Lady Death without bearing her mark, and soon Kasia discovers that her music is entrancing, capable of bending the audience to her will. This alluring new gift thrusts Kasia into the spotlight, but also into the city’s highest circles of power, where influential men seek to control her, Lady Death’s demands grow increasingly dangerous, and Kasia finds herself falling further into the thrall of a master who promises her everything… as long as Death can call Kasia hers.

A radical history of trans images in film, and an exploration of the political possibilities of the new trans cinema movement. There have been trans images in cinema for over a century — very often bad cultural objects and very often inspired by the cultural zeitgeist, from Christine Jorgensen to Candy Darling to a guest on The Jerry Springer Show. But now, trans cinema as a movement is slowly emerging from the margins to create a new film language, often in reaction to these historical trans film images that cast the trans body in abject form; a corpse, a foolish joke, a tragic martyr, or even a monster. Corpses, Fools, and Monsters is a new radical history of these trans film images, and an exploration of the political possibilities of the new trans cinema movement. Analysing the work of trans cinema directors Isabel Sandoval, Silas Howard, and the Wachowski Sisters, it also discusses the trans film image in everything from pre-talkie films and Ed Wood B-movies to Oscar-winners, body horror and slashers. Going beyond reassessing notable films, performances, and portrayals, Corpses, Fools, and Monsters instead brings to light films and artists not given their due, along with highlighting filmmakers who are bringing trans cinema out of the margins in the twenty-first century.