Raskolnikov, a destitute and desperate former student, wanders through the slums of St Petersburg and commits a random murder without remorse or regret. He imagines himself to be a great man, a Napoleon: acting for a higher purpose beyond conventional moral law. But as he embarks on a dangerous game of cat and mouse with a suspicious police investigator, Raskolnikov is pursued by the growing voice of his conscience and finds the noose of his own guilt tightening around his neck. Only Sonya, a downtrodden sex worker, can offer the chance of redemption.

A groundbreaking work of feminist history and theory analyzing the complex relations between various forms of oppression. Ain't I a Woman examines the impact of sexism on black women during slavery, the historic devaluation of black womanhood, black male sexism, racism within the recent women's movement, and black women's involvement with feminism.

Blumwald is a town overshadowed by an ancient curse: in a sinister castle in the depths of the wild wood lives a monstrous Witch. Once a generation, she comes to claim a companion to return with her – never to be seen again. Now that time is drawing near once more... Mina, daughter of the duke, is grieving and lonely. She has lost all hope of any future for herself in Blumwald. So when the Witch demands her next companion, Mina offers herself up – though she has no idea what fate awaits her. Stranded with her darkly alluring captor, the mystery of what happened to the previous companions draws Mina into the heart of a terrifying secret that could save her life, or end it.

Odette and Cecilia are young women, living between their grand homes in Hampstead and the imposing, ancient Herne House in Suffolk. Though Odette's artist mother Lydia keeps a tight grasp on her, she and her beloved Cecilia are mostly left free to roam, to learn and to love.But when Lydia inexplicably sickens and dies, a dark veil falls. As the funeral rites are performed, Odette's aunt, the cold and implacable Claudine, increasingly takes charge of the household, while her father retreats to his study. Odette, lost in grief, disappears into the shadows.But as Claudine is announced as Odette's new stepmother, a sinister presence in the house makes itself known. To her horror, Odette realises that despite her death, Lydia never really left. And now she wants revenge . . .Inspired by Hamlet, the ultimate revenge tragedy, Rottenheart is the stunning new sapphic gothic horror novel from Kat Dunn, the lauded author of Hungerstone and Bitterthorn. Set in the 1890s, this a story of love and grief, mothers and daughters, death and madness.

Read the original inspiration for the new, boldly reimagined film from producers Oprah Winfrey and Steven Spielberg, starring Taraji P. Henson, Danielle Brooks, and Fantasia Barrino. Winner of the Pulitzer Prize and the National Book Award A powerful cultural touchstone of modern American literature, The Color Purple depicts the lives of African American women in early twentieth-century rural Georgia. Separated as girls, sisters Celie and Nettie sustain their loyalty to and hope in each other across time, distance and silence. Through a series of letters spanning twenty years, first from Celie to God, then the sisters to each other despite the unknown, the novel draws readers into its rich and memorable portrayals of Celie, Nettie, Shug Avery and Sofia and their experience. The Color Purple broke the silence around domestic and sexual abuse, narrating the lives of women through their pain and struggle, companionship and growth, resilience and bravery. Deeply compassionate and beautifully imagined, Alice Walker's epic carries readers on a spirit-affirming journey towards redemption and love. “Reading The Color Purple was the first time I had seen Southern, Black women’s literature as world literature. In writing us into the world—bravely, unapologetically, and honestly—Alice Walker has given us a gift we will never be able to repay.” —Tayari Jones “The Color Purple was what church should have been, what honest familial reckoning could have been, and it is still the only art object in the world by which all three generations of Black artists in my family judge American art.” —Kiese Laymon