Back in an extraordinary first novel by'a writer to watch and to enjoy.'* Told in the voice of a girl as she moves from childhood into adolescence, Buxton Spice is the story the town of Tamarind its eccentric families, its sweeping joys, and its sudden tragedies. The novel brings to life 1970s Guyana-a world at a cultural and political crossroads-and perfectly captures a child's keen observations, sense of wonder, and the growing complexity of consciousness that marks the passage from innocence to experience.

In 1600s Amsterdam, two women—a painter and her assistant—defy the norms of their time as they take on the male-dominated art world and fall in love—from “fantastic prose writer” (Vulture) and “true master” (Guernica), Victoria Redel.“I loved it in a way that is no doubt different than other books I have loved. The period and touches on time, sexual politics, art, history, class, women’s rights and the significance of Amsterdam and all the details the author shares of this particularly rich period kept me thoroughly engaged and is a brilliant backdrop to Gerta and Maria’s story.” —Sarah Jessica Parker, SJP Lit At seven years old, Gerta’s hair is lopped off and she’s sent to work for the Oosterwijcks under the name Pieter because it’s a boy they need. As Pieter, she splits wood, minds the hens and rabbits, scrubs the wooden floors of the house, and tends the garden—all while the family’s teenage daughter, Maria, looks on, sketching Pieter’s every movement. A few years later at the dinner table Maria lays Gerta’s deception open alongside a demand that Gerta accompany her to Utrecht, where Maria will apprentice in the workshop of a famous painter.     In Utrecht, Maria learns to paint skilled still lives—though she is the only woman in her workshop and because of her gender will never be accepted into the painters’ guild. As Maria ascends to great heights of skill and fame, the relationship between maid and employer deepens and shifts, and it becomes clear that Gerta, too, possesses abilities far beyond what society expects.    Inspired by the little that is known about Maria van Oosterwijck’s actual life, I Am You is a love story, a meditation on gender—the ways it binds and frees us—and an ode to artistic creation. As beautifully wrought as Oosterwijck’s paintings delicate, blazing in color, and at times enveloped in shadow, Victoria Redel’s new novel brings to life the copious spoils of Amsterdam’s Golden Age, and the perils that lay hidden within them for women like Maria and Gerta.

With the highest kaiju-emergence rates in the world, Japan is no stranger to attack by deadly monsters. Enter the Japan Defense Force, a military organization tasked with the neutralization of kaiju. Kafka Hibino, a kaiju-corpse cleanup man, has always dreamed of joining the force. But when he gets another shot at achieving his childhood dream, he undergoes an unexpected transformation. How can he fight kaiju now that he’s become one himself?! The final test of the Defense Force has come to an end, but the examinees’ challenges aren’t over yet. A mysterious humanoid kaiju revives a neutralized honju and sics it on Kikoru Shinomiya. Just when Kikoru seems to be at the end of her rope, Kafka rushes to her defense! But what is the humanoid kaiju’s goal?

With the highest kaiju-emergence rates in the world, Japan is no stranger to attack by deadly monsters. Enter the Japan Defense Force, a military organization tasked with the neutralization of kaiju. Kafka Hibino, a kaiju-corpse cleanup man, has always dreamed of joining the force. But when he gets another shot at achieving his childhood dream, he undergoes an unexpected transformation. How can he fight kaiju now that he’s become one himself?! Kafka hopes to one day keep his pact with his childhood friend Mina to join the Japan Defense Force and fight by her side. But while she’s out neutralizing kaiju as Third Division captain, Kafka is stuck cleaning up the aftermath of her battles. When a sudden rule change makes Kafka eligible for the Defense Force, he decides to try out for the squad once more. There’s just one problem—he’s made the Defense Force’s neutralization list under the code name Kaiju No. 8.

In 1600s Amsterdam, two women—a painter and her assistant—defy the norms of their time as they take on the male-dominated art world and fall in love—from “fantastic prose writer” (Vulture) and “true master” (Guernica), Victoria Redel.“I loved it in a way that is no doubt different than other books I have loved. The period and touches on time, sexual politics, art, history, class, women’s rights and the significance of Amsterdam and all the details the author shares of this particularly rich period kept me thoroughly engaged and is a brilliant backdrop to Gerta and Maria’s story.” —Sarah Jessica Parker, SJP Lit At seven years old, Gerta’s hair is lopped off and she’s sent to work for the Oosterwijcks under the name Pieter because it’s a boy they need. As Pieter, she splits wood, minds the hens and rabbits, scrubs the wooden floors of the house, and tends the garden—all while the family’s teenage daughter, Maria, looks on, sketching Pieter’s every movement. A few years later at the dinner table Maria lays Gerta’s deception open alongside a demand that Gerta accompany her to Utrecht, where Maria will apprentice in the workshop of a famous painter.     In Utrecht, Maria learns to paint skilled still lives—though she is the only woman in her workshop and because of her gender will never be accepted into the painters’ guild. As Maria ascends to great heights of skill and fame, the relationship between maid and employer deepens and shifts, and it becomes clear that Gerta, too, possesses abilities far beyond what society expects.    Inspired by the little that is known about Maria van Oosterwijck’s actual life, I Am You is a love story, a meditation on gender—the ways it binds and frees us—and an ode to artistic creation. As beautifully wrought as Oosterwijck’s paintings delicate, blazing in color, and at times enveloped in shadow, Victoria Redel’s new novel brings to life the copious spoils of Amsterdam’s Golden Age, and the perils that lay hidden within them for women like Maria and Gerta.

The water-breathing descendants of African slave women tossed overboard have built their own underwater society—and must reclaim the memories of their past to shape their future in this brilliantly imaginative novella inspired by the Hugo Award nominated song “The Deep” from Daveed Diggs’ rap group Clipping.Yetu holds the memories for her people—water-dwelling descendants of pregnant African slave women thrown overboard by slave owners—who live idyllic lives in the deep. Their past, too traumatic to be remembered regularly, is forgotten by everyone, save one—the historian. This demanding role has been bestowed on Yetu.Yetu remembers for everyone, and the memories, painful and wonderful, traumatic and terrible and miraculous, are destroying her. And so, she flees to the surface, escaping the memories, the expectations, and the responsibilities—and discovers a world her people left behind long ago.Yetu will learn more than she ever expected to about her own past—and about the future of her people. If they are all to survive, they’ll need to reclaim the memories, reclaim their identity—and own who they really are.Inspired by a song produced by the rap group Clipping for the This American Life episode “We Are In The Future,” The Deep is vividly original and uniquely affecting.

The water-breathing descendants of African slave women tossed overboard have built their own underwater society—and must reclaim the memories of their past to shape their future in this brilliantly imaginative novella inspired by the Hugo Award nominated song “The Deep” from Daveed Diggs’ rap group Clipping.Yetu holds the memories for her people—water-dwelling descendants of pregnant African slave women thrown overboard by slave owners—who live idyllic lives in the deep. Their past, too traumatic to be remembered regularly, is forgotten by everyone, save one—the historian. This demanding role has been bestowed on Yetu.Yetu remembers for everyone, and the memories, painful and wonderful, traumatic and terrible and miraculous, are destroying her. And so, she flees to the surface, escaping the memories, the expectations, and the responsibilities—and discovers a world her people left behind long ago.Yetu will learn more than she ever expected to about her own past—and about the future of her people. If they are all to survive, they’ll need to reclaim the memories, reclaim their identity—and own who they really are.Inspired by a song produced by the rap group Clipping for the This American Life episode “We Are In The Future,” The Deep is vividly original and uniquely affecting.

Welcome to Derry, Maine ... It’s a small city, a place as hauntingly familiar as your own hometown. Only in Derry the haunting is real ... They were seven teenagers when they first stumbled upon the horror. Now they are grown-up men and women who have gone out into the big world to gain success and happiness. But none of them can withstand the force that has drawn them back to Derry to face the nightmare without an end, and the evil without a name.

Only when he is on board the steamer halfway to their remote destination up river in Guyana does Milton Woodsley realize that there is more to Henry Nevinson’s invitation to spend time with his family in their jungle cottage. Milton, an artist, thinks he has been invited to do some paintings for Nevinson, a rich businessman. But when the Nevinsons mention a flute player that no one else can hear, Woodsley begins to glean that there is more to their stay. Told in Woodsley’s skeptical, self-mocking and good-humored voice, Mittelholzer creates a brilliantly atmospheric setting for his characters and their terrified discovery that this is not a place where they can be at home.

Only when he is on board the steamer halfway to their remote destination up river in Guyana does Milton Woodsley realize that there is more to Henry Nevinson’s invitation to spend time with his family in their jungle cottage. Milton, an artist, thinks he has been invited to do some paintings for Nevinson, a rich businessman. But when the Nevinsons mention a flute player that no one else can hear, Woodsley begins to glean that there is more to their stay. Told in Woodsley’s skeptical, self-mocking and good-humored voice, Mittelholzer creates a brilliantly atmospheric setting for his characters and their terrified discovery that this is not a place where they can be at home.