“A scorchingly brilliant, wildly funny, and deeply moving epic.” —John Green, #1 globally bestselling author of The Fault in Our Stars Two unlikely heroes embark on quests to win God’s favor in this outrageously entertaining, profoundly heartfelt novel that announces an ingenious new voice in the tradition of Chain-Gang All-Stars, No One Is Talking About This, and Martyr! Yara can’t comprehend why God has chosen them to slay Dominic, the ruthless leader of the army of Bad Guys. Cast out by their family and reeling from a destructive relationship, Yara has never felt weaker—but with nothing left to lose, they strike a deal. Abandoning their solitary days of embroidery and obsessive cleaning, Yara reluctantly embarks on a perilous odyssey designed to prepare them for the daunting mission ahead. Meanwhile, Adrena, a disillusioned prophet with a terrifying secret power, is determined to become the hero of this story. Desperately seeking the glory of God’s approval and the promise of heaven, where she hopes to reunite with her beloved mother, Adrena must first persuade Harpo, the leader of the Good Guys, that her plan is God’s will. As their journeys unfold in a series of unforgettable adventures, Yara and Adrena are propelled toward each other and transformative revelations about life, death, and destiny in this intensely captivating, irreverent epic from a singularly brilliant new voice in fiction.

A dramatic, funny, and painful romance manga between two women about how, sometimes, you need to run away in order to find where you truly belong. Perfect for fans of coming-out yuri like How Do We Relationship? and masters of adult drama like Akiko Higashimura (Princess Jellyfish) and Takako Shimura (Even Though We're Adults). You know that one person you just can't forget? Not the one that got away, but the one you had, until suddenly you didn't? Maki's first love was her high school classmate, a girl named Midori. But Midori broke up with Maki at graduation, saying they were now "too old to be fooling around dating girls." Ten years later, Maki still can't get Midori off her mind, and when the two women reconnect after a chance encounter, Maki realizes that, while her feelings haven't changed, Midori has long moved on -- in fact, she's engaged. Yet the more Maki hears Midori talk about her soon-to-be-husband, the more red flags she notices. And Midori has another secret, one she hasn't yet shared with Maki. Will it be the last blow to Maki's hopes that their romance might be rekindled? Or will it be the push that sets them on a new path -- one they'll travel together?

A cinematic, razor-sharp novel following a backlot fixer’s daring investigation into the suspicious death of a closeted Black actor within the glamorous world of Hollywood, from the bestselling author of My Government Means to Kill MeXavier C. Barlow, one of Hollywood’s young Black stars taking the industry by storm in the late 1950s, is Skyline Studios’s ambitious attempt to rival Sidney Poitier's burgeoning success. His arrival into the industry is calculated, his charm is magnetic, and his seductive screen presence appeals to both audiences and celebrities across generations. But years later, after Xavier dies at the height of his fame, Aaron Touissant—Skyline’s designated backlot fixer who helps the studio’s stars stay as deep in the closet as humanly possible—is finally ready to expose the powerful culprits responsible for his untimely death. Written as part-confessional, part-cris de coeur from Aaron's panoramic lens, There’s Only One Sin in Hollywood is a searing portrait of the movie industry as a manicured minefield and a compelling journey into the queer history of Los Angeles.

A dramatic, funny, and painful romance manga between two women about how, sometimes, you need to run away in order to find where you truly belong. Perfect for fans of coming-out yuri like How Do We Relationship? and masters of adult drama like Akiko Higashimura (Princess Jellyfish) and Takako Shimura (Even Though We're Adults). You know that one person you just can't forget? Not the one that got away, but the one you had, until suddenly you didn't? Maki's first love was her high school classmate, a girl named Midori. But Midori broke up with Maki at graduation, saying they were now "too old to be fooling around dating girls." Ten years later, Maki still can't get Midori off her mind, and when the two women reconnect after a chance encounter, Maki realizes that, while her feelings haven't changed, Midori has long moved on -- in fact, she's engaged. Yet the more Maki hears Midori talk about her soon-to-be-husband, the more red flags she notices. And Midori has another secret, one she hasn't yet shared with Maki. Will it be the last blow to Maki's hopes that their romance might be rekindled? Or will it be the push that sets them on a new path -- one they'll travel together?

“A scorchingly brilliant, wildly funny, and deeply moving epic.” —John Green, #1 globally bestselling author of The Fault in Our Stars Two unlikely heroes embark on quests to win God’s favor in this outrageously entertaining, profoundly heartfelt novel that announces an ingenious new voice in the tradition of Chain-Gang All-Stars, No One Is Talking About This, and Martyr! Yara can’t comprehend why God has chosen them to slay Dominic, the ruthless leader of the army of Bad Guys. Cast out by their family and reeling from a destructive relationship, Yara has never felt weaker—but with nothing left to lose, they strike a deal. Abandoning their solitary days of embroidery and obsessive cleaning, Yara reluctantly embarks on a perilous odyssey designed to prepare them for the daunting mission ahead. Meanwhile, Adrena, a disillusioned prophet with a terrifying secret power, is determined to become the hero of this story. Desperately seeking the glory of God’s approval and the promise of heaven, where she hopes to reunite with her beloved mother, Adrena must first persuade Harpo, the leader of the Good Guys, that her plan is God’s will. As their journeys unfold in a series of unforgettable adventures, Yara and Adrena are propelled toward each other and transformative revelations about life, death, and destiny in this intensely captivating, irreverent epic from a singularly brilliant new voice in fiction.

A cinematic, razor-sharp novel following a backlot fixer’s daring investigation into the suspicious death of a closeted Black actor within the glamorous world of Hollywood, from the bestselling author of My Government Means to Kill MeXavier C. Barlow, one of Hollywood’s young Black stars taking the industry by storm in the late 1950s, is Skyline Studios’s ambitious attempt to rival Sidney Poitier's burgeoning success. His arrival into the industry is calculated, his charm is magnetic, and his seductive screen presence appeals to both audiences and celebrities across generations. But years later, after Xavier dies at the height of his fame, Aaron Touissant—Skyline’s designated backlot fixer who helps the studio’s stars stay as deep in the closet as humanly possible—is finally ready to expose the powerful culprits responsible for his untimely death. Written as part-confessional, part-cris de coeur from Aaron's panoramic lens, There’s Only One Sin in Hollywood is a searing portrait of the movie industry as a manicured minefield and a compelling journey into the queer history of Los Angeles.

Piranesi’s house is no ordinary building: its rooms are infinite, its corridors endless, its walls are lined with thousands upon thousands of statues, each one different from all the others. Within the labyrinth of halls an ocean is imprisoned; waves thunder up staircases, rooms are flooded in an instant. But Piranesi is not afraid; he understands the tides as he understands the pattern of the labyrinth itself. He lives to explore the house. There is one other person in the house—a man called The Other, who visits Piranesi twice a week and asks for help with research into A Great and Secret Knowledge. But as Piranesi explores, evidence emerges of another person, and a terrible truth begins to unravel, revealing a world beyond the one Piranesi has always known.

Cancel culture addresses real harm...and sometimes causes more. It’s time to think this through. “Cancel” or “call-out” culture is a source of much tension and debate in American society. The infamous "Harper’s Letter,” signed by public intellectuals of both the left and right, sought to settle the matter and only caused greater division. Originating as a way for marginalized and disempowered people to address harm and take down powerful abusers, often with the help of social media, call outs are seen by some as having gone too far. But what is “too far” when you’re talking about imbalances of power and patterns of harm? And what happens when people in social justice movements direct their righteous anger inward at one another? In We Will Not Cancel Us, movement mediator Adrienne Maree Brown reframes the discussion for us, in a way that points to possible paths beyond this impasse. Most critiques of cancel culture come from outside the milieus that produce it, sometimes even from from its targets. However, Brown explores the question from a Black, queer, and feminist viewpoint that gently asks, how well does this practice serve us? Does it prefigure the sort of world we want to live in? And, if it doesn’t, how do we seek accountability and redress for harm in ways that reflect our values?

The first book in the series, A SONG OF LEGENDS LOST, will be published in spring 2025 and launches a gripping tale of revenge and rebellion in a vividly drawn world inspired by multiple pre-colonial cultures. In the Nine Lands, only those of noble blood can summon the spirits of their ancestors to fight in battle. But when Temi, a commoner from the slums, accidentally invokes a powerful spirit, she finds it could hold the key to ending a centuries-long war. But not everything that can be invoked is an ancestor. And some of the spirits that can be drawn from the ancestral realm are more dangerous than anyone can imagine.

Cancel culture addresses real harm...and sometimes causes more. It’s time to think this through. “Cancel” or “call-out” culture is a source of much tension and debate in American society. The infamous "Harper’s Letter,” signed by public intellectuals of both the left and right, sought to settle the matter and only caused greater division. Originating as a way for marginalized and disempowered people to address harm and take down powerful abusers, often with the help of social media, call outs are seen by some as having gone too far. But what is “too far” when you’re talking about imbalances of power and patterns of harm? And what happens when people in social justice movements direct their righteous anger inward at one another? In We Will Not Cancel Us, movement mediator Adrienne Maree Brown reframes the discussion for us, in a way that points to possible paths beyond this impasse. Most critiques of cancel culture come from outside the milieus that produce it, sometimes even from from its targets. However, Brown explores the question from a Black, queer, and feminist viewpoint that gently asks, how well does this practice serve us? Does it prefigure the sort of world we want to live in? And, if it doesn’t, how do we seek accountability and redress for harm in ways that reflect our values?

「甘い　あまい　いい匂い　齧りつきたい」 もうすぐ、一生に一度きりの今年のエマの誕生日。宝はエマへの気持ちを胸に、自分なりに祝おうと思案中。だけどある日突然、エマの仕事場に招かれざる客が…!?　母親からの心無い言葉によって傷つき、弱るエマ。エマの幸せを祈り、真剣に親友として心配する宝だが、想いは溢れ──。

In an age of confusion, fear, and loss, Hanif Abdurraqib's is a voice that matters. Whether he's attending a Bruce Springsteen concert the day after visiting Michael Brown's grave, or discussing public displays of affection at a Carly Rae Jepsen show, he writes with a poignancy and magnetism that resonates profoundly. In the wake of the nightclub attacks in Paris, he recalls how he sought refuge as a teenager in music, at shows, and wonders whether the next generation of young Muslims will not be afforded that opportunity now. While discussing the everyday threat to the lives of black Americans, Abdurraqib recounts the first time he was ordered to the ground by police officers: for attempting to enter his own car. In essays that have been published by the New York Times, MTV, and Pitchfork, among others—along with original, previously unreleased essays—Abdurraqib uses music and culture as a lens through which to view our world, so that we might better understand ourselves, and in so doing proves himself a bellwether for our times.