Clergyman Alfred Saintsbury has always obeyed the dictates of the Church of England and thus remains a virgin at the age of twenty-eight. Now his devoted professionalism is finally paying off. The only problem is that his new employer, Miss Annabelle de Lacey, is the most notorious woman in England…and, to this repressed man of God, excruciatingly attractive.When Alfred accidentally reveals to Annabelle how much he desires her, she gives him a stark ultimatum. He must begin serving her in the bedchamber or face the humiliation of losing his post.Annabelle de Lacey is the kind of powerful woman who men fear and revile. Ruthless in business and pleasure, she always gets what she wants. At first, the shy new vicar is no exception. But with Alfred, she soon encounters a novel risk. As she teaches him all about passion, his tenderness begins to seduce the one part of her that she thought no man could ever her heart.Can this rakess and this repressed vicar truly find love? Or will their differences make a happily ever after impossible?

"Les voisins de la veille vous égorgent. Les amis de toujours vous poignardent. Les uns comme les autres n'ont plus ni compassion, ni réflexion, ni amour. L'horreur est partout. Le goût du sang les rend ivres. En qui, à quoi croire désormais ?" En été, dans un pays en guerre, une jeune femme est blessée par une balle alors qu'elle essayait de rejoindre Steph, qui habite de l'autre côté de la ville. À vingt minutes à pied d'ici, Steph l'attend. Dans sa dernière lettre, il lui demande de laisser de côté leurs vieilles querelles et de vivre l'indéfectible amour qui, depuis toujours, les unit. Arrêtée dans sa course par la balle d'un franc-tireur, Marie n'a qu'une seule idée en tête : lui faire parvenir un message pour lui dire qu'elle venait... qu'elle l'aime.

A high-strung and inventive literary horror that will delight fans of Stephen Graham Jones and Mariana Enriquez, Ito Romo’s debut novel traces the thousand-year lineage of a new kind of vampire—the mestizo Filth Eater. Granada, 1849. After centuries of scrounging in the shadows, the vampire Radamés discovers an ancient Aztec codex that reveals the vampires of the “New World” live a more “human” life—they marry, they give birth. Spurred on by tantalizing promise of a fuller existence, Radamés glamours and schemes his way onto a ship headed for Mexico. There, in the underbelly of the forgotten Aztec city of Teotihuacán, the Andalusian vampire falls in love with a member of this ancient sect of Aztec vampires who call themselves Filth Eaters. From their union, the mestizo vampire Doro is born.  Hopping back and forth in time from the Indus River Delta in 1099 to the Muslim Spanish empire of the 1400s to a flooded cyberpunk New York City of the future, Filth Eaters pulls at the threads of empire, greed, and climate collapse, but the beating, bloody heart of the story is our very human desire for the love that gives life meaning.The debut novel from a celebrated writer of “Chicano Gothic” stories, this surprising, gory saga turns a new page for a centuries-old genre. 

How bitches, trainwrecks, shrews, and crazy women have taken over pop culture and liberated women from having to be nice. Female characters throughout history have been burdened by the moral trap that is likeability. Any woman who dares to reveal her messy side has been treated as a cautionary tale. Today, unlikeable female characters are everywhere in film, TV, and wider pop culture. For the first time ever, they are being accepted by audiences and even showered with industry awards. We are finally accepting that women are―gasp―fully fledged human beings. How did we get to this point? Unlikeable Female Characters traces the evolution of highly memorable female characters, examining what exactly makes them popular, how audiences have reacted to them, and the ways in which pop culture is finally allowing us to celebrate the complexities of being a woman. Anna Bogutskaya, film programmer, broadcaster, and co-founder of the horror film collective and podcast The Final Girls, takes us on a journey through popular film, TV, and music, looking at the nuances of womanhood on and off-screen to reveal whether pop culture―and society―is finally ready to embrace complicated women.

From Atlantic critic and Pulitzer Prize finalist Sophie Gilbert, a blazing critique of how early-aughts pop culture turned women and girls against each other—and themselves—with disastrous consequencesWhat happened to feminism in the 21st century? This question feels increasingly urgent after a period of reactionary cultural and legislative backlash, when widespread uncertainty about the movement’s power, focus, and currency threatens decades of progress. Sophie Gilbert, a staff writer at The Atlantic and finalist for the Pulitzer Prize in criticism, provides one answer, identifying an inflection point in the late 1990s and early 2000s when the energy of third-wave and “riot girrrl” feminism collapsed into a regressive period of hyper-objectification, sexualization, and infantilization. Gilbert mines the darker side of nostalgia, training her keen analytic eye on the most revealing cultural objects of the era, across music, film, television, fashion, tabloid journalism, and more. And what she recounts is harrowing, from the leering aesthetic of American Apparel ads and explicit music videos to a burgeoning internet culture vicious towards women in the spotlight and damaging for those who weren’t. Gilbert tracks many of the period’s dominant themes back to the explosion of internet porn, tracing its widespread influence as it began to pervade our collective consciousness. Gilbert paints a devastating picture of an era when a distinctly American confluence of excess, materialism, and power-worship collided with the culture’s reactionary, puritanical, and chauvinistic currents. Amid a collective reconsideration of the way women are treated in public, Girl on Girl is a blistering indictment of the matrix of misogyny that undergirded the cultural production of the early twenty-first century, and how it continues to shape our world today.

With the epic sweep of Min Jin Lee’s Pachinko or Yaa Gyasi’s Homegoing and the lyrical beauty of Vaddey Ratner’s In the Shadow of the Banyan, The Mountains Sing tells an enveloping, multigenerational tale of the Trần family, set against the backdrop of the Việt Nam War. Trần Diệu Lan, who was born in 1920, was forced to flee her family farm with her six children during the Land Reform as the Communist government rose in the North. Years later in Hà Nội, her young granddaughter, Hương, comes of age as her parents and uncles head off down the Hồ Chí Minh Trail to fight in a conflict that tore apart not just her beloved country, but also her family. Vivid, gripping, and steeped in the language and traditions of Việt Nam, The Mountains Sing brings to life the human costs of this conflict from the point of view of the Vietnamese people themselves, while showing us the true power of kindness and hope.

From Atlantic critic and Pulitzer Prize finalist Sophie Gilbert, a blazing critique of how early-aughts pop culture turned women and girls against each other—and themselves—with disastrous consequencesWhat happened to feminism in the 21st century? This question feels increasingly urgent after a period of reactionary cultural and legislative backlash, when widespread uncertainty about the movement’s power, focus, and currency threatens decades of progress. Sophie Gilbert, a staff writer at The Atlantic and finalist for the Pulitzer Prize in criticism, provides one answer, identifying an inflection point in the late 1990s and early 2000s when the energy of third-wave and “riot girrrl” feminism collapsed into a regressive period of hyper-objectification, sexualization, and infantilization. Gilbert mines the darker side of nostalgia, training her keen analytic eye on the most revealing cultural objects of the era, across music, film, television, fashion, tabloid journalism, and more. And what she recounts is harrowing, from the leering aesthetic of American Apparel ads and explicit music videos to a burgeoning internet culture vicious towards women in the spotlight and damaging for those who weren’t. Gilbert tracks many of the period’s dominant themes back to the explosion of internet porn, tracing its widespread influence as it began to pervade our collective consciousness. Gilbert paints a devastating picture of an era when a distinctly American confluence of excess, materialism, and power-worship collided with the culture’s reactionary, puritanical, and chauvinistic currents. Amid a collective reconsideration of the way women are treated in public, Girl on Girl is a blistering indictment of the matrix of misogyny that undergirded the cultural production of the early twenty-first century, and how it continues to shape our world today.

Two months since the stars fell... Two months since sixty-five thousand alien objects clenched around the Earth like a luminous fist, screaming to the heavens as the atmosphere burned them to ash. Two months since that moment of brief, bright surveillance by agents unknown. Two months of silence, while a world holds its breath. Now some half-derelict space probe, sparking fitfully past Neptune's orbit, hears a whisper from the edge of the solar system: a faint signal sweeping the cosmos like a lighthouse beam. Whatever's out there isn't talking to us. It's talking to some distant star, perhaps. Or perhaps to something closer, something en route. So who do you send to force introductions on an intelligence with motives unknown, maybe unknowable? Who do you send to meet the alien when the alien doesn't want to meet? You send a linguist with multiple personalities, her brain surgically partitioned into separate, sentient processing cores. You send a biologist so radically interfaced with machinery that he sees x-rays and tastes ultrasound, so compromised by grafts and splices he no longer feels his own flesh. You send a pacifist warrior in the faint hope she won't be needed, and the fainter one she'll do any good if she is. You send a monster to command them all, an extinct hominid predator once called vampire, recalled from the grave with the voodoo of recombinant genetics and the blood of sociopaths. And you send a synthesist--an informational topologist with half his mind gone--as an interface between here and there, a conduit through which the Dead Center might hope to understand the Bleeding Edge. You send them all to the edge of interstellar space, praying you can trust such freaks and retrofits with the fate of a world. You fear they may be more alien than the thing they've been sent to find. But you'd give anything for that to be true, if you only knew what was waiting for them...

Debut author Shen Tao introduces readers to the lush, deadly world of The Poet Empress, a sweeping, epic and intimate fantasy perfect for fans of The Serpent & the Wings of Night, The Song of Achilles and She Who Became the Sun.In the waning years of the Azalea Dynasty, the emperor is dying, the land consumed by famine, and poetry magic lost to all except the powerful.Wei Yin is desperate. After the fifth death of a sibling, with her family and village on the brink of starvation, she will do anything to save those she loves.Even offer herself as concubine to the cruel heir of the beautiful and brutal Azalea House.But in a twist of fate, the palace stands on the knife-edge of civil war with Wei trapped in its center…at the side of a violent prince.To survive, Wei must harden her heart, rely on her wit, and become dangerous herself. Even if it means becoming a poet in a world where women are forbidden to read—and composing the most powerful spell of all. A ballad of death...and love.The Poet Empress is an epic fantasy that explores darker themes, subjects, and scenes that may not be suitable for all readers. Please see the author's content note at the beginning of the book.

One October morning, Laina gets the news that her brother has been shot and killed by Boston cops. But what looks like a case of police brutality soon reveals something much stranger. Monsters are real. And they want everyone to know it. As creatures from myth and legend come out of the shadows, seeking safety through visibility, their emergence sets off a chain of seemingly unrelated events. Members of a local werewolf pack are threatened into silence. A professor follows a missing friend’s trail of bread crumbs to a mysterious secret society. And a young boy with unique abilities seeks refuge in a pro-monster organization with secrets of its own. Meanwhile, more people start disappearing, suicides and hate crimes increase, and protests erupt globally, both for and against the monsters. At the center is a mystery no one thinks to ask: Why now? What has frightened the monsters out of the dark? The world will soon find out.

The Third Policeman is Flann O'Brien's brilliantly dark comic novel about the nature of time, death, and existence. Told by a narrator who has committed a botched robbery and brutal murder, the novel follows him and his adventures in a two-dimensional police station where, through the theories of the scientist/philosopher de Selby, he is introduced to "Atomic Theory" and its relation to bicycles, the existence of eternity (which turns out to be just down the road), and de Selby's view that the earth is not round but "sausage-shaped." With the help of his newly found soul named "Joe," he grapples with the riddles and contradictions that three eccentric policeman present to him. The last of O'Brien's novels to be published, The Third Policeman joins O'Brien's other fiction (At Swim-Two-Birds, The Poor Mouth, The Hard Life, The Best of Myles, The Dalkey Archive) to ensure his place, along with James Joyce and Samuel Beckett, as one of Ireland's great comic geniuses.

Can they stop hating each other long enough to fall in love? A commitment-phobe and a hopeless romantic clash over and over again--until heartbreak and unexpected chemistry bring them together in this clever enemies-to-friends-to-lovers debut romance. When Ari and Josh first meet, the wrong kind of sparks fly. They hate each other. Instantly. A free-spirited, struggling comedian who likes to keep things casual, Ari sublets, takes gigs, and she never sleeps over after hooking up. Born-and-bred Manhattanite Josh has ambitious plans: Take the culinary world by storm, find The One, and make her breakfast in his spotless kitchen. They have absolutely nothing in common . . . except that they happen to be sleeping with the same woman. Ari and Josh never expect their paths to cross again. But years later, as they're both reeling from ego-bruising breakups, a chance encounter leads to a surprising connection: friendship. Turns out, spending time with your former nemesis is fun when you're too sad to hate each other--and too sad for hate sex. As friends-without-benefits, they find comfort in late-night Netflix binges, swiping through each other's online dating profiles, and bickering across boroughs. It's better than romance. Until one night, the unspoken boundaries of their platonic relationship begin to blur. . . . With sharp observations and sizzling chemistry, You, Again explores the dynamics of co-ed friendship in this sparkling romantic comedy of modern love in all its forms.

Brooklynite Eva Mercy is a single mom and bestselling erotica writer, who is feeling pressed from all sides. Shane Hall is a reclusive, enigmatic, award-winning literary author who, to everyone's surprise, shows up in New York. When Shane and Eva meet unexpectedly at a literary event, sparks fly, raising not only their past buried traumas, but the eyebrows of New York's Black literati. What no one knows is that twenty years earlier, teenage Eva and Shane spent one crazy, torrid week madly in love. They may be pretending that everything is fine now, but they can't deny their chemistry - or the fact that they've been secretly writing to each other in their books ever since. Over the next seven days in the middle of a steamy Brooklyn summer, Eva and Shane reconnect, but Eva's not sure how she can trust the man who broke her heart, and she needs to get him out of New York so that her life can return to normal. But before Shane disappears again, there are a few questions she needs answered... With its keen observations of Black life and the condition of modern motherhood, as well as the consequences of motherless-ness, Seven Days in June is by turns humorous, warm and deeply sensual. Alternate cover edition of ISBN 9781538719107.

The daughter of an affluent Black family pieces together the connection between a childhood tragedy and a beloved heirloom in this moving novel from the New York Times bestselling author of Black Cake, a Read with Jenna Book Club PickWhen ten-year-old Ebby Freeman heard the gunshot, time stopped. And when she saw her brother, Baz, lying on the floor surrounded by the shattered pieces of a centuries-old jar, life as Ebby knew it shattered as well.The crime was never solved—and because the Freemans were one of the only Black families in a particularly well-to-do enclave of New England—the case has had an enduring, voyeuristic pull for the public. The last thing the Freemans want is another media frenzy splashing their family across the papers, but when Ebby's high profile romance falls apart without any explanation, that's exactly what they get.So Ebby flees to France, only for her past to follow her there. And as she tries to process what's happened, she begins to think about the other loss her family suffered on that day eighteen years ago—the stoneware jar that had been in their family for generations, brought North by an enslaved ancestor. But little does she know that the handcrafted piece of pottery held more than just her family's history—it might also hold the key to unlocking her own future.In this sweeping, evocative novel, Charmaine Wilkerson brings to life a multi-generational epic that examines how the past informs our present.