From the #1 New York Times bestselling author of Braiding Sweetgrass, a bold and inspiring vision for how to orient our lives around gratitude, reciprocity, and community, based on the lessons of the natural world.As indigenous scientist and author of Braiding Sweetgrass Robin Wall Kimmerer harvests serviceberries alongside the birds, she considers the ethic of reciprocity that lies at the heart of the gift economy. How, she asks, can we learn from indigenous wisdom and the plant world to reimagine what we value most? Our economy is rooted in scarcity, competition, and the hoarding of resources, and we have surrendered our values to a system that actively harms what we love. Meanwhile, the serviceberry’s relationship with the natural world is an embodiment of reciprocity, interconnectedness, and gratitude. The tree distributes its wealth—its abundance of sweet, juicy berries—to meet the needs of its natural community. And this distribution insures its own survival. As Kimmerer explains, “Serviceberries show us another model, one based upon reciprocity, where wealth comes from the quality of your relationships, not from the illusion of self-sufficiency.” As Elizabeth Gilbert writes, Robin Wall Kimmerer is “a great teacher, and her words are a hymn of love to the world.” The Serviceberry is an antidote to the broken relationships and misguided goals of our times, and a reminder that “hoarding won’t save us, all flourishing is mutual.”

In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit-hole, and that means comfort. Written for J.R.R. Tolkien’s own children, The Hobbit met with instant critical acclaim when it was first published in 1937. Now recognized as a timeless classic, this introduction to the hobbit Bilbo Baggins, the wizard Gandalf, Gollum, and the spectacular world of Middle-earth recounts of the adventures of a reluctant hero, a powerful and dangerous ring, and the cruel dragon Smaug the Magnificent. The text in this 372-page paperback edition is based on that first published in Great Britain by Collins Modern Classics (1998), and includes a note on the text by Douglas A. Anderson (2001).

Within this publication, the reader is presented with explanations for the central concepts and basic guidelines to the ceremonies that form a part of Hellenic Household Worship as has been established and is currently practiced by the LABRYS Polytheistic Community in Hellas (Greece). It serves as a useful introductory manual for the newcomer to contemporary Hellenic Polytheism as they take the first steps on their journey to worship the Hellenic Gods in a traditional manner.

A moving coming-of-age memoir in the vein of Unorthodox and Brazen , about one young woman’s desperate attempt to protect her children and family while also embracing her queer identity in a controlling Hasidic community. Growing up in the Hasidic community of Brooklyn’s Borough Park, Sara Glass knew one painful what was expected of her and what she desperately wanted were impossibly opposed. Tormented by her attraction to women and trapped in a loveless arranged marriage, she found herself unable to conform to her religious upbringing and soon, she made the difficult decision to walk away from the world she knew. Sara’s journey to self-acceptance began with the challenging battle for a divorce and custody of her children, an act that left her on the verge of estrangement from her family and community. Controlled by the fear of losing custody of her two children, she forced herself to remain loyal to the compulsory heteronormativity baked into Hasidic Judaism and married again. But after suffering profound loss and a shocking sexual assault, Sara decided to finally be completely true to herself. Kissing Girls on Shabbat is not only a love letter to Glass’s children, herself, and her family—it is an unflinching window into the world of ultra-conservative Orthodox Jewish communities and an inspiring celebration of learning to love yourself.

From the author of the New York Times best seller Poser and the acclaimed memoir Love and Trouble, a passionate, provocative, blisteringly smart interrogation of how we make and experience art in the age of #MeToo, and of the link between genius and monstrosity. In this unflinching, deeply personal book that expands on her instantly viral Paris Review essay, What Do We Do with the Art of Monstrous Men? Claire Dederer asks: Can we love the work of Hemingway, Polanski, Naipaul, Miles Davis, or Picasso? Should we love it? Does genius deserve special dispensation? Is male monstrosity the same as female monstrosity? Does art have a mandate to depict the darker elements of the psyche? And what happens if the artist stares too long into the abyss? She explores the audience's relationship with artists from Woody Allen to Michael Jackson, asking: How do we balance our undeniable sense of moral outrage with our equally undeniable love of the work? In a more troubling vein, she wonders if an artist needs to be a monster in order to create something great. And if an artist is also a mother, does one identity inexorably, and fatally, interrupt the other? Highly topical, morally wise, honest to the core, Monsters is certain to incite a conversation about whether and how we can separate artists from their art.

Working at the local processing plant, Marcos is in the business of slaughtering humans —though no one calls them that anymore. His wife has left him, his father is sinking into dementia, and Marcos tries not to think too hard about how he makes a living. After all, it happened so quickly. First, it was reported that an infectious virus has made all animal meat poisonous to humans. Then governments initiated the “Transition.” Now, eating human meat—“special meat”—is legal. Marcos tries to stick to numbers, consignments, processing. Then one day he’s given a gift: a live specimen of the finest quality. Though he’s aware that any form of personal contact is forbidden on pain of death, little by little he starts to treat her like a human being. And soon, he becomes tortured by what has been lost—and what might still be saved.

Authors June Hayward and Athena Liu were supposed to be twin rising stars: same year at Yale, same debut year in publishing. But Athena's a cross-genre literary darling, and June didn't even get a paperback release. Nobody wants stories about basic white girls, June thinks. So when June witnesses Athena's death in a freak accident, she acts on impulse: she steals Athena's just-finished masterpiece, an experimental novel about the unsung contributions of Chinese laborers to the British and French war efforts during World War I. So what if June edits Athena's novel and sends it to her agent as her own work? So what if she lets her new publisher rebrand her as Juniper Song--complete with an ambiguously ethnic author photo? Doesn't this piece of history deserve to be told, whoever the teller? That's what June claims, and the New York Times bestseller list seems to agree. But June can't get away from Athena's shadow, and emerging evidence threatens to bring June's (stolen) success down around her. As June races to protect her secret, she discovers exactly how far she will go to keep what she thinks she deserves. With its totally immersive first-person voice, Yellowface takes on questions of diversity, racism, and cultural appropriation not only in the publishing industry but the persistent erasure of Asian-American voices and history by Western white society. R. F. Kuang's novel is timely, razor-sharp, and eminently readable.

For readers of Leila Slimani’s The Perfect Nanny or Ling Ma's Severance: a tight, propulsive, chilling novel by a rising international star about a group of young colleagues working as social media content monitors—reviewers of violent or illegal videos for an unnamed megacorporation—who convince themselves they’re in control . . . until the violence strikes closer to home. Kayleigh needs money. That’s why she takes a job as a content moderator for a social media platform whose name she isn’t allowed to mention. Her job: reviewing offensive videos and pictures, rants and conspiracy theories, and deciding which need to be removed. It’s grueling work. Kayleigh and her colleagues spend all day watching horrors and hate on their screens, evaluating them with the platform’s ever-changing terms of service while a supervisor sits behind them, timing and scoring their assessments. Yet Kayleigh finds a group of friends, even a new love—and, somehow, the job starts to feel okay. But when her colleagues begin to break down; when Sigrid, her new girlfriend, grows increasingly distant and fragile; when her friends start espousing the very conspiracy theories they’re meant to be evaluating; Kayleigh begins to wonder if the job may be too much for them. She’s still totally fine, though—or is she?

Peter is quick, daring, and full of mischief—and like all boys, he loves to play, though his games often end in blood. His eyes are sparkling gold, and when he graces you with his smile you are his friend for life, but his promised land is not Neverland. Fourteen-year-old Nick would have been murdered by the drug dealers preying on his family had Peter not saved him. Now the irresistibly charismatic wild boy wants Nick to follow him to a secret place of great adventure, where magic is alive and you never grow old. Even though he is wary of Peter's crazy talk of faeries and monsters, Nick agrees. After all, New York City is no longer safe for him, and what more could he possibly lose? There is always more to lose. Accompanying Peter to a gray and ravished island that was once a lush, enchanted paradise, Nick finds himself unwittingly recruited for a war that has raged for centuries—one where he must learn to fight or die among the "Devils," Peter's savage tribe of lost and stolen children. There, Peter's dark past is revealed: left to wolves as an infant, despised and hunted, Peter moves restlessly between the worlds of faerie and man. The Child Thief is a leader of bloodthirsty children, a brave friend, and a creature driven to do whatever he must to stop the "Flesh-eaters" and save the last, wild magic in this dying land.

A young man descends into Purgatory to save his wife and unborn child in this gorgeous, illustrated tale of wonder and terror from the mind of master storyteller and acclaimed artist Brom Fresh out of jail and eager to start a new life, Chet Moran and his pregnant wife, Trish, leave town to begin again. But an ancient evil is looming, and what seems like a safe haven may not be all it appears . . . Snared and murdered by a vile, arcane horror, Chet quickly learns that pain and death are not unique to the living. Now the lives and very souls of his wife and unborn child are at stake. To save them, he must journey into the bowels of purgatory in search of a sacred key promised to restore the natural order of life and death. Alone, confused, and damned, Chet steels himself against the unfathomable terrors awaiting him as he descends into death’s stygian blackness. With Lost Gods, Brom’s gritty and visceral prose takes us on a haunting, harrowing journey into the depths of the underworld. Thrust into a realm of madness and chaos, where ancient gods and demons battle over the dead, and where cabals of souls conspire to overthrow their masters, Chet plays a dangerous game, risking eternal damnation to save his family.

Evil in Me is bestselling author Brom's newest novel of possession, damnation, and rock-n-roll where one woman must get the world singing in order to save her soul. This devilish tale includes nearly two dozen of Brom’s immersive paintings and brilliant endpapers Aspiring musician Ruby Tucker has had enough of her small rural town and dysfunctional family. But a falling out with her best friend and bandmate has killed her dreams of escaping and making it big in the Atlanta punk scene. While helping her eccentric neighbor organize his religious relics, an ancient ring clamps down on her finger―possessing her with the spirit of a blood-thirsty demon. There’s no getting it off unless hundreds of people chant a spell to set Ruby free. And what’s worse, the ring is a beacon for evil, drawing an unimaginably wicked mob straight to Ruby, hungry for her flesh. If Ruby can get her band back together, she has a shot at salvation. It's time for her to face the music and put her whole soul into a song―one powerful enough to raise some Hell.