A debut gothic YA from the USA Today bestselling author of The Hacienda and The Possession of Alba DíazSixteen-year-old Minerva has spent her whole life in the slums of the capital city of an unnamed country that resembles colonial Mexico. Though she lives in the shadow of constant government turmoil, her empty belly and her father’s brutality don’t leave time for politics—especially since her older brothers ran away. Minerva can’t take another beating or miss another meal, so she steals flees to a wealthy loyalist neighborhood to win a job as a lady’s maid to an elderly widow.Minerva and Encarnación del Valle—the proud and acerbic widow—form an unlikely duo. They are both survivors in their own ways, stubborn and used to being underestimated. For a time, Minerva is happy. She has food and safety in a house lit and warmed by magical chispa. Why should she care who runs the country or how her employer afford the magic?But when the viceroy sweeps back into power on a wave of horrific bloodshed that sweeps away any hope Minerva had of seeing her brothers again, Encarnación retreats to the del Valle’s mountainside estate, the Casa de la Gardenias. Minerva finds herself surrounded by dozens of more experienced servants and the cruel, scheming younger del Valles, but the living are the least of anyone’s worries at the Casa de las Gardenias, and soon Minerva discovers that this ancient estate is home to forces far older and more bloodthirsty than the fascist del Valles or the liberal guerrillas amassing in the surrounding wilderness.

‘The best case I've read for putting an upper limit on the accumulation of wealth’ Richard WilkinsonNo-one deserves to be a millionaire. Not even you. We all notice when the poor get when there are more rough sleepers and food bank queues start to grow. But if the rich become richer, there is nothing much to see in public and, for most of us, daily life doesn't change. Or at least, not immediately.In this astonishing, eye-opening intervention, world-leading philosopher and economist Ingrid Robeyns exposes the true extent of our wealth problem, which has spent the past fifty years silently spiralling out of control. In moral, political, economic, social, environmental and psychological terms, she shows, extreme wealth is not only unjustifiable but harmful to us all - the rich included.In place of our current system, Robeyns offers a breathtakingly clear limitarianism. The answer to so many of the problems posed by neoliberal capitalism - and the opportunity for a vastly better world - lies in placing a hard limit on the wealth that any one person can accumulate. Because nobody deserves to be a millionaire. Not even you.

With wonder and a sense of humor, 'NATURE OBSCURA' author Kelly Brenner aims to help us rediscover our connection to the natural world that is just outside our front door - we just need to know where to look. Through explorations of a rich and varied urban landscape, Brenner reveals the complex micro-habitats and surprising nature found in the middle of a city. In her hometown of Seattle, which has plowed down hills, cut through the land to connect fresh- and saltwater, and paved over much of the rest, she exposes a diverse range of strange and unknown creatures. From shore to wetland, forest to neighborhood park, and graveyard to backyard, Brenner uncovers how our land alterations have impacted nature, for good and bad, through the wildlife and plants that live alongside us, often unseen. These stories meld together, in the same way our ecosystems, species, and human history are interconnected across the urban environment.

Valerie Danners is in a cult. She just doesn't know it yet. When she finds a queer book at the library and smuggles it home, her conservative Christian homeschooling world begins to crack. And when the cutest girl she's ever met shows up to Bible class, she starts to question everything. Riley is so confident and kind, and she and Valerie bond quickly over existing as multiracial teens in a very white Christian community. As Valerie explores her feelings for Riley, she begins to see that the world she knows is a carefully crafted narrative. Publicly, the girls are close friends--holding hands in prayer, rooming together at a conference. Privately, they grasp at any chance to continue their forbidden romance--until they are found out. Now Valerie must choose between staying with a family she fears will never accept her, or running away with the girl she loves.

Perfect for fans of Kirsty Greenwood and Ashley Poston, Most Ardently Yours follows romance-obsessed Zoe Knight who, after accidentally summoning the real Mr. Darcy from a stolen copy of Pride and Prejudice, must find a way to send him back to the pages of her favourite book with the help of a romance-sceptic bookseller. A delightfully bookish and swoony romance with a lightly speculative flair from the USA Today bestselling author Freya Sampson that brings to life one of Jane Austen's most universally beloved love interests.

A powerful collection of stories about women who murdered—for revenge, for love, and even for pleasure—rife with historical details that will have any true crime junkie on the edge of their seat In every tragic story, men are expected to be the killers. There are countless studies and works of art made about male violence. However, when women are featured in stories about murder, they are rarely portrayed as predators. They’re the prey. This common dynamic is one of the reasons that women are so enthralled by female murderers. They do the things that women aren’t supposed to do and live the lives that women aren’t supposed to lives that are impulsive and angry and messy and inconvenient. Maybe we feel bad about loving them, but we eat it up just the same. Residing squarely in the middle of a Venn diagram of feminism and true crime, She Kills Me tells the story of 40 women who murdered out of necessity, fear, revenge, and even for pleasure.

The Gothic. Brooding, atmospheric, chilling, and not always the outpouring of a feverish imagination. Reality can be even stranger as borne out in this lush and ghostly look at real people who lived—and died—amidst the trappings of the Gothic. Fog clinging to an isolated mansion. A dangerous patriarch or an overbearing matron. Locked doors and forbidden rooms. Whispers of murder and madness. And a woman shadowed by omnipresent threats. You’ve guessed it. You’ve stumbled into a Gothic tale, and it will haunt you like a ghost.      We often think of the enduring tropes of the Gothic in terms of fiction and film—breath-catching escapes that tap into our fears, anxieties, forbidden desires, and unsettling dreams. But what if some of these chilly vibes are rooted in the experiences of real and tragic people who danced a macabre waltz with love and death? That’s why we’re here. Take the case of teenage Mercy Brown, victim—or was it predator?—of Rhode Island’s vampire hysteria of the 1890s. Marguerite de la Roque, a French noblewoman condemned for “sexual crimes” to Canada’s long-lost Isle of Demons. What happened to her and the barren landscape itself is the stuff of legend. And “Mad Lucy” Ludwell, the decidedly peculiar eighteenth-century high-society hauteur driven mad in the Virginia estate she prowls to this day. President Helen Peabody’s spirit still stringently watches over her Women’s College, now part of Ohio’s Miami University. Ghosts of workers lost in horrific conditions while building the Hoosac Tunnel warn of imminent danger. Settle in. There are more.      Welcome to the phantom ships, haunted academic halls, menacing landscapes, and family curses of America’s Most Gothic—a tour of true spectral sightings and disordered minds. But it’s sure to get under your skin. The haunted—and haunting—figures herein want it that way.

An intellectual feast for fans of offbeat history,  Ghostland  takes readers on a road trip through some of the country's most infamously haunted places — and deep into the dark side of our history. Colin Dickey is on the trail of America's ghosts. Crammed into old houses and hotels, abandoned prisons and empty hospitals, the spirits that linger continue to capture our collective imagination, but why? His own fascination piqued by a house hunt in Los Angeles that revealed derelict foreclosures and "zombie homes," Dickey embarks on a journey across the continental United States to decode and unpack the American history repressed in our most famous haunted places. Some have established reputations as "the most haunted mansion in America," or "the most haunted prison"; others, like the haunted Indian burial grounds in West Virginia, evoke memories from the past our collective nation tries to forget.             With boundless curiosity, Dickey conjures the dead by focusing on questions of the living — how do we, the living, deal with stories about ghosts, and how do we inhabit and move through spaces that have been deemed, for whatever reason, haunted? Paying attention not only to the true facts behind a ghost story, but also to the ways in which changes to those facts are made — and why those changes are made — Dickey paints a version of American history left out of the textbooks, one of things left undone, crimes left unsolved.        Spellbinding, scary, and wickedly insightful, Ghostland discovers the past we're most afraid to speak of aloud in the bright light of day is the same past that tends to linger in the ghost stories we whisper in the dark.

A powerful collection of stories about women who murdered—for revenge, for love, and even for pleasure—rife with historical details that will have any true crime junkie on the edge of their seat In every tragic story, men are expected to be the killers. There are countless studies and works of art made about male violence. However, when women are featured in stories about murder, they are rarely portrayed as predators. They’re the prey. This common dynamic is one of the reasons that women are so enthralled by female murderers. They do the things that women aren’t supposed to do and live the lives that women aren’t supposed to lives that are impulsive and angry and messy and inconvenient. Maybe we feel bad about loving them, but we eat it up just the same. Residing squarely in the middle of a Venn diagram of feminism and true crime, She Kills Me tells the story of 40 women who murdered out of necessity, fear, revenge, and even for pleasure.

An emotional, electrifying, and darkly hilarious debut about a woman who finds a dead body and can’t give up its ghost, for fans of Mona Awad, Yellowjackets, and weird girl fiction. Spiraling from a disastrous falling-out with her best friend, Savannah retreats to her parents’ empty lake house in upstate New York to tend her wounds. Isolated and reeling from rejection, she spends her days in a fog, drinking and overthinking in equal worrisome measure. Until she wakes up one morning in the woods behind the house—next to a dead body. Instead of calling the police, Savannah reads the journal she finds nearby, reliving the last desperate months of this woman’s life lost in the wilderness, fighting for survival. Ava, as it turns out, is more than just a cold, lonely corpse. She was funny. She was smart. And Savannah has finally found someone she can talk to… As she pushes deeper into Ava’s harrowing story, Savannah notices a change, a shift in her reality. Each page brings her closer to the Ava from the journal…and the ghost before her now. Before long, Savannah feels something for Ava she hasn’t felt for anyone else—and there’s a good chance letting go would haunt her for the rest of her life. Is Savannah finally losing her grip? Or has she found the friend she’s needed all along?

An emotional, electrifying, and darkly hilarious debut about a woman who finds a dead body and can’t give up its ghost, for fans of Mona Awad, Yellowjackets, and weird girl fiction. Spiraling from a disastrous falling-out with her best friend, Savannah retreats to her parents’ empty lake house in upstate New York to tend her wounds. Isolated and reeling from rejection, she spends her days in a fog, drinking and overthinking in equal worrisome measure. Until she wakes up one morning in the woods behind the house—next to a dead body. Instead of calling the police, Savannah reads the journal she finds nearby, reliving the last desperate months of this woman’s life lost in the wilderness, fighting for survival. Ava, as it turns out, is more than just a cold, lonely corpse. She was funny. She was smart. And Savannah has finally found someone she can talk to… As she pushes deeper into Ava’s harrowing story, Savannah notices a change, a shift in her reality. Each page brings her closer to the Ava from the journal…and the ghost before her now. Before long, Savannah feels something for Ava she hasn’t felt for anyone else—and there’s a good chance letting go would haunt her for the rest of her life. Is Savannah finally losing her grip? Or has she found the friend she’s needed all along?