New York Times bestselling author T. Kingfisher returns to the cozy fantasy world of Swordheart in this deliciously charming sequel. Four hundred years ago, three warriors were trapped inside enchanted swords, cursed to be immortal servants of whoever wielded the blade. One of them is the Dervish, a restless, fiery soul who hates his captivity and hates his wielders even more, but has never found a way to escape the sword’s magic. Then one day, a disillusioned scholar named Learned Edmund is tasked with delivering the sword to a distant city, and, in the greatest of peril, draws the blade. The Dervish finds himself bound to a sweet, brilliant, and above all kind young man. And while he may be able to protect Edmund from bandits, cultists, dragons, and strange inhuman diplomats, he may find it much harder to protect his own heart.

In 1926, five women disappeared from a remote island in Vermont. Now, one hundred years later, it’s happening again. Struggling actress Marin Keane is shocked when she lands a role in a major motion picture about the unsolved mystery of New Avalon, an island on sprawling Lake Faraday in Vermont. She’s even more surprised when she learns that the role requires a weeklong research trip to that very spot. Because New Avalon isn’t your ordinary island. A century ago, it was a commune for spiritual mediums—until they all vanished in 1926. The only trace of them was five dresses hanging from the branches of an old oak tree in the middle of the island, one for each missing woman. Some locals say they simply left. Others think they were murdered. But the prevailing opinion, thanks to a diary left behind by one of the vanished, a young woman named Daisy Rue, is that a séance gone wrong conjured something supernatural that took them all one by one. Not long after arriving, Marin and her castmates, including legendary actress Violet Wright and white-hot director Ronan Peters, begin to realize all is not right with New Avalon. They hear strange noises in the night and notice mysterious symbols left behind by the island's previous occupants. And after a sudden health emergency leaves Marin, Ronan, and the other actors stranded on the island, the disappearances begin again. Is it the work of someone trying to derail the movie? Or is the island’s alleged supernatural past catching up with the present? As fear and suspicion mount, Marin turns to Daisy’s diary, hoping it holds the key to figuring out what really happened to the women of New Avalon—and how to keep the island’s terrible history from repeating itself.

In 1926, five women disappeared from a remote island in Vermont. Now, one hundred years later, it’s happening again. Struggling actress Marin Keane is shocked when she lands a role in a major motion picture about the unsolved mystery of New Avalon, an island on sprawling Lake Faraday in Vermont. She’s even more surprised when she learns that the role requires a weeklong research trip to that very spot. Because New Avalon isn’t your ordinary island. A century ago, it was a commune for spiritual mediums—until they all vanished in 1926. The only trace of them was five dresses hanging from the branches of an old oak tree in the middle of the island, one for each missing woman. Some locals say they simply left. Others think they were murdered. But the prevailing opinion, thanks to a diary left behind by one of the vanished, a young woman named Daisy Rue, is that a séance gone wrong conjured something supernatural that took them all one by one. Not long after arriving, Marin and her castmates, including legendary actress Violet Wright and white-hot director Ronan Peters, begin to realize all is not right with New Avalon. They hear strange noises in the night and notice mysterious symbols left behind by the island's previous occupants. And after a sudden health emergency leaves Marin, Ronan, and the other actors stranded on the island, the disappearances begin again. Is it the work of someone trying to derail the movie? Or is the island’s alleged supernatural past catching up with the present? As fear and suspicion mount, Marin turns to Daisy’s diary, hoping it holds the key to figuring out what really happened to the women of New Avalon—and how to keep the island’s terrible history from repeating itself.

Ariel Kaplan’s The Pomegranate Gate is the lyrical first installment of the Mirror Realm Cycle, a vibrant and heartfelt Inquisition-era Jewish epic fantasy in the vein of Naomi Novik, Katherine Arden, and Tasha Suri. Toba Peres can speak, but not shout; she can walk, but not run. She can write with both hands, in different languages, but has not had a formal education. The only treasure Toba has dared to keep is a precious star sapphire, set in a necklace she must never take off. Naftaly Cresques sees things that aren’t real, and dreams things that are. He is a well-trained tailor, but a middling one, and he is risking his life to smuggle a strange family heirloom: a centuries-old book he must never read, and must never lose. The Queen of the Sefarad has ordered all Jews to convert, or be exiled with nothing. Toba, Naftaly, and thousands of others are forced to flee their homes. Toba, accidentally separated from their caravan of refugees, stumbles through a strange pomegranate grove into the magical realm of the Maziks: mythical, terrible beings with immense power. There, she discovers latent abilities that put her in the crosshairs of bloodthirsty immortals, but may be key to her survival. On the other side of the gate, Naftaly, intent on rescuing Toba, finds his new companions harbor dangerous secrets of their own. Now, hunted by an Inquisition in both worlds, Toba and Naftaly must unravel ancient histories and ancient magics in order to understand the link between the two realms. More than their own lives might be at stake. Brimming with folkloric wonder, The Pomegranate Gate weaves history, myth, and magic into an exquisite tale of fate, legacy, and friendship that will leave readers spellbound.

A pantheon of forgotten gods. An old grudge between a talk show host, an heiress, and the man they shattered along the way. A rapidly deteriorating AI system. An inconvenient tiara upon the head of a friend. It is bedlam on the eighth floor. As management reels from the unexpected conclusion of the seventh level, the surviving crawlers stumble onto the eighth and find themselves scattered. It’s a map based on Earth’s final days before the collapse, where ethereal, intangible ghosts of humanity go about their lives, oblivious of the impending doom. Living amongst these ghosts are monsters based in Earth lore. “Legendary” creatures tied to the geographical location they inhabit. Each team of crawlers is given a task: find and capture six of these beasts. The captured monsters will be turned into cards. Cards that can be summoned into battle again and again. The stronger, the deadlier, the better. At the end of the floor, the bad guys will also have decks, and they will have some of the most powerful cards available. So it’s crucial to assemble the toughest squad possible. But, like always, there is a catch. There’s always a catch. As Carl and Donut know all too well, just because someone is captured, it doesn’t mean they have been tamed. Her name is Shi Maria. She’s easily the most powerful monster in their area. If they want to survive, they must capture her. But she is no ordinary beast. She’s intelligent. She was once married to a god, a god who is now missing. Her special attack is known to drive one insane. They call her the Bedlam Bride. “Beware, beware. Beware the Eye of the Bedlam Bride”

For fans of Sigrid Nunez’s The Friend and Nicholson Baker’s The Mezzanine, a polyphonic debut following an aging French bulldog and the parasitic worms that send her toward death — a singular, sly novel about form, freedom, interiors, and the matter by which we are composed and consumed.Gelsomina is an elderly French bulldog who lives in a glass house in the mountains. Paned by transparency, she’s lived in imitations—of the man and the woman, of the younger dog, Zampanò, of the wild unknown beyond the windows.     One day, Gelsomina accidentally ingests an orb of parasitic worms. Approaching death, and filled with new life, she begins to see everything differently. She makes changes in the pattern of her days, and the glass house fractures into many voices. The worms burrowing into Gelsomina regard her body as an imperfect structure, the home they inherited but did not dream of. The couple—Wendy, in interiors, and John, in architectural design—face the claws of human attachment, and what our will to domesticate means for the life of an animal who can see the wild, but never know it.     Day’s architectural instincts breath into Gelsomina’s new and panting life meditations on animal suicide, string theory, philosophical approaches to form, and the question of whether a glass house can ever be a home. The Oldest Bitch Alive tails Gelsomina into one final, ecstatic sprint through the invisible fence and into a wilderness she’s never seen—activating the depths of attachment, reverence, death, and the bounded self in dichromatic color.

Attention. Attention. The gates are down. The hunters are loose. Run, Run, Run. A lush jungle teeming with danger. Savage dinosaurs seeking blood. A fallen princess intent on vengeance. A mysterious, end-of-floor celebration for the top crawlers, dubbed “The Butcher’s Masquerade.” The sixth floor. The Hunting Grounds. As the remaining crawlers battle for their lives, a new, terrible threat looms. Outside tourists are finally allowed to enter the game, and they are here and ready to hunt. Among them is Vrah, a famed and veteran hunter, intent on collecting the biggest trophy of her career. But their prey is far from harmless, and this season they are fighting back. Dungeon Crawler Carl and Princess Donut return in book five of the acclaimed litrpg series.

From an incendiary new talent, a contemporary queer folktale about a mother and daughter living in the woods, for fans of Angela Carter, Margaret Atwood, and Julia Armfield. “Deliciously dark and shockingly bold—someone needs to make this into a film right now! Lucy Rose is one to watch. This is one of my favorite debuts in a long time.”—Kirsty Logan, author of Now She is Witch and Things We Say in the Dark A FOLK TALE. A HORROR STORY. A LOVE STORY. AN ENCHANTMENT. Margot and Mama have lived by the forest ever since Margot can remember. When Margot is not at school, they spend quiet days together in their cottage, waiting for strangers to knock on their door. Strays, Mama calls them. People who have strayed too far from the road. Mama loves the strays. She feeds them wine, keeps them warm. Then she picks apart their bodies and toasts them off with some vegetable oil. But Mama’s want is stronger than her hunger sometimes, and when a beautiful, white-toothed stray named Eden turns up in the heart of a snowstorm, Margot must confront the shifting dynamics of her family, untangle her own desires, and make her own bid for freedom. With this gothic coming-of-age tale, debut novelist Lucy Rose explores how women swallow their anger, desire, and animal instincts—and wrings the relationship between mother and daughter until blood drips from it.

Attention. Attention. The gates are down. The hunters are loose. Run, Run, Run. A lush jungle teeming with danger. Savage dinosaurs seeking blood. A fallen princess intent on vengeance. A mysterious, end-of-floor celebration for the top crawlers, dubbed “The Butcher’s Masquerade.” The sixth floor. The Hunting Grounds. As the remaining crawlers battle for their lives, a new, terrible threat looms. Outside tourists are finally allowed to enter the game, and they are here and ready to hunt. Among them is Vrah, a famed and veteran hunter, intent on collecting the biggest trophy of her career. But their prey is far from harmless, and this season they are fighting back. Dungeon Crawler Carl and Princess Donut return in book five of the acclaimed litrpg series.

A horror-infused, polyphonic work about the violence and cruelty seething in a late-70s Guadalajara neighborhoodAt a traveling fair, a young girl visiting with her family will ask a “serpent woman” to tell her future. The serpent woman’s answer is cryptic, but back in their neighborhood, the lives of the girl and her sister will be haunted by a ghost and a boa as their world shimmers between the real and unreal.The Summer of the Serpent gives us a multi-faceted, multi-textured look at the sisters, their family, and their neighbors caught in the strange intense forces afflicting the neighborhood throughout that summer, much of it seemingly related from 40 years later, in more or less our own present.

A horror-infused, polyphonic work about the violence and cruelty seething in a late-70s Guadalajara neighborhoodAt a traveling fair, a young girl visiting with her family will ask a “serpent woman” to tell her future. The serpent woman’s answer is cryptic, but back in their neighborhood, the lives of the girl and her sister will be haunted by a ghost and a boa as their world shimmers between the real and unreal.The Summer of the Serpent gives us a multi-faceted, multi-textured look at the sisters, their family, and their neighbors caught in the strange intense forces afflicting the neighborhood throughout that summer, much of it seemingly related from 40 years later, in more or less our own present.