A jaded bartender is wooed by a charmingly quirky couple in this fresh and sizzling polyamorous rom-com, set in the exclusive world of high-end cocktail bars. As a bartender at Terror & Virtue, a swanky New York City cocktail lounge known for its romantic atmosphere and Insta-worthy drinks, Mel has witnessed plenty of disastrous dates. That, coupled with her own romantic life being in shambles, has Mel convinced love doesn’t exist. Everything changes when Bebe walks into the bar. She’s beautiful, funny, knows her whiskeys—and is happily married to her partner, Kade. Mel’s resigned to forget the whole thing, but Bebe makes her a unique since she and Kade have an open marriage, she’s interested in taking Mel on a date. What starts as a fun romp turns into a burgeoning relationship, and soon Mel is trying all sorts of things she’d been avoiding, from grand romantic gestures to steamy exploits. Mel even gets the self-confidence to enter a cocktail competition that would make her dream of opening her own bar a reality. In the chaotic whirl of all these new experiences, Mel realizes there might be a spark between her and Kade, too. As Bebe, Kade, and Mel explore their connections, Mel begins to think that real love might be more expansive than she ever thought possible.

You’re caught in a time loop and there’s only one way out. You have to call out your best friend. Spence hates Anthony’s sexist jokes, but he never says anything. Anthony’s his buddy, and Spence doesn’t have many. One Friday, Spence finds Anthony assaulting their classmate, Clara Hart, at a party. Clara flees from the house, is hit by a car, and dies. But the next day, it’s Friday again and Clara is alive. Caught in a time-loop, Spence finds himself living the same 24 hours on repeat. Can he change Clara’s fate? And what if it’s not that simple?

La place de l'homme est à la cuisine.Dans les plats.***Dans le village de Kilburry où les femmes semblent tout gouverner, une force est à l'oeuvre. Quelque chose se tapit dans l'ombre, mais aussi dans le sol, dans l'air.Thea l'a toujours senti et c'est précisément pour ça qu'elle a fui le village à l'adolescence.Aujourd'hui, elle y remet les pieds accompagnée de sa petite-amie, juste pour un week-end. "Juste le temps deprésenter nos condoléances", s'étaient-elles promis. Mais le village semble avoir d'autres plans.Et leur estomac aussi.***La rage est un livre fantastique horrifique qui mentionne ou aborde les thèmes suivants : violences, mort, sang/gore, mort d'un animal

Dans les rues d'un Paris déserté, la narratrice avance la peur au ventre et la joie au coeur : c'est chez Sara qu'elle se rend, pour la toute première fois. Les premières fois, les deux amantes les comptent et les chérissent, depuis leur rencontre, les messages échangés comme autant de promesses poétiques, le désir contenu, jusqu'à l'apothéose du premier baiser, des premières caresses, de la première étreinte. Leur histoire est une évidence. Débute une romance ardente et délicate, dont les héroïnes sont également les témoins subjuguées. La découverte de l'autre, de son corps, de ses affects, l'éblouissement sensuel et la douce ivresse des moments partagés seront l'occasion d'apprendre à se connaître un peu mieux soi-même. Anne-Fleur Multon redonne ses lettres de noblesse et d'humanité au roman d'amour et nous entraîne dans les dédales d'une passion résolument joyeuse, souvent charnelle et parfois mélancolique, mais toujours étourdissante.

Entrer à Sainte-Marie, c'est comme grimper dans un cercueil. Collège privé Sainte-Marie, plus que trois lundis avant le brevet, puis les vacances avant le passage au lycée.  Trois lundis, trois semaines pour finaliser le plan qui permettra à l’héroïne de ce roman haletant de tout faire exploser et de se venger de ses oppresseurs, mais aussi des injustices, de la violence, du mépris de classe, du harcèlement qu’elle a subi toute l’année. Trois lundis que nous vivons avec elle, via sa voix intérieure où percent sa souffrance, son impatience et surtout la férocité de sa colère. Aucune pensée n'est tue, cachée, euphémisée : au fil de ces trois derniers lundis de collège, nous plongeons dans les émotions et dans la rage de cette jeune fille. Sainte-Marie-des-Haines-Infinies explore avec force et justesse la colère qui parfois déborde à l’adolescence, ce moment de la vie où tous les enjeux semblent démesurément importants. 

A disaffected, true crime-obsessed bookseller develops a dangerous obsession with a colleague. Roach would rather be listening to the latest episode of her favorite true crime podcast than assisting the boring and predictable customers at her local branch of the bookstore Spines, where she’s worked her entire adult life. A serious true crime junkie, Roach looks down her nose at the pumpkin-spice-latte-drinking casual fans who only became interested in the genre once it got trendy. But when Laura, a pretty and charismatic children’s bookseller, arrives to help rejuvenate the struggling bookstore branch, Roach recognizes in her an unexpected kindred spirit. Despite their common interest in true crime, Laura keeps her distance from Roach, resisting the other woman’s overtures of friendship. Undeterred, Roach learns everything she can about her new colleague, eventually uncovering Laura’s traumatic family history. When Roach realizes that she may have come across her very own true crime story, interest swiftly blooms into a dangerous obsession. A darkly funny suspense novel, Death of a Bookseller raises ethical questions about the fervor for true crime and how we handle stories that don’t belong to us.

"The struggle from late youth on, with and without God, agony, narcotics and love is a torment rarely recorded with such sustained eloquence and passion as you will find in this collection." —Fanny Howe This highly-anticipated debut boldly confronts addiction and courses the strenuous path of recovery, beginning in the wilds of the mind. Poems confront craving, control, the constant battle of alcoholism and sobriety, and the questioning of the self and its instincts within the context of this never-ending fight. “In Calling a Wolf a Wolf, Kaveh Akbar exquisitely and tenaciously braids astonishment and atonement into a singular lyric voice. The desolation of alcoholism widens into hard-won insight: ‘the body is a mosque borrowed from Heaven.’ Doubt and fear spiral into grace and beauty. Akbar’s mind, like his language, is perpetually in motion. His imagery—wounded and resplendent—is masterful and his syntax ensnares and releases music that’s both delicate and muscular. Kaveh Akbar has crafted one of the best debuts in recent memory. In his hands, awe and redemption hinge into unforgettable and gorgeous poems.” —Eduardo C. Corral

After her mother died, poet Victoria Chang refused to write elegies. Rather, she distilled her grief during a feverish two weeks by writing scores of poetic obituaries for all she lost in the world. In Obit, Chang writes of "the way memory gets up after someone has died and starts walking." These poems reinvent the form of newspaper obituary to both name what has died ("civility," "language," "the future," "Mother's blue dress") and the cultural impact of death on the living. Whereas elegy attempts to immortalize the dead, an obituary expresses loss, and the love for the dead becomes a conduit for self-expression. In this unflinching and lyrical book, Chang meets her grief and creates a powerful testament for the living.

A shocking, hilarious and strangely tender novel about a young woman’s experiment in narcotic hibernation, aided and abetted by one of the worst psychiatrists in the annals of literature. Our narrator has many of the advantages of life, on the surface. Young, thin, pretty, a recent Columbia graduate, she lives in an apartment on the Upper East Side of Manhattan paid for, like everything else, by her inheritance. But there is a vacuum at the heart of things, and it isn’t just the loss of her parents in college, or the way her Wall Street boyfriend treats her, or her sadomasochistic relationship with her alleged best friend. It’s the year 2000 in a city aglitter with wealth and possibility; what could be so terribly wrong? This story of a year spent under the influence of a truly mad combination of drugs, designed to heal us from our alienation from this world, shows us how reasonable, even necessary, that alienation sometimes is. Blackly funny, both merciless and compassionate – dangling its legs over the ledge of 9/11 – this novel is a showcase for the gifts of one of America’s major young writers working at the height of her powers.