Amy Jane Stewart is a writer living in the Scottish Borders. She was the winner of the New Writing North & Word Factory Northern Apprentice Award in 2021 and the Mairtín Crawford Prize for Short Story in 2022. She has been Highly Commended in the 2019 Bridport Prize and shortlisted for the 2023 Bristol Short Story Prize. Her work can be found in New Writing Scotland, Visual Verse and Test Signal. She holds an MA in Creative Writing from York St John University and is studying for a Creative Writing PhD at the University of Sheffield.

Eleanore of Avignon is the story of a woman who is unwilling to bend to the limitations her society places upon her when she becomes the unlikely apprentice to the pope’s physician at the most challenging and dangerous moment in medieval European history. Provence, 1347. Eleanore (Elea) Blanchet is a midwife and budding herbalist with remarkable skills. But as she knows all too well from her late mother’s fate, she must be careful to stay within her station. So, she quietly accepts her role tending to the pregnant women in her home city of Avignon; spending time with her father and beloved twin sister, Margot; and escaping to the surrounding woods to forage for herbs when she can. At the very least, she is determined to preserve the little freedom she does have by staying unwed—unlike Margot, who is about to marry a man with painful connections to their mother’s death. Then, in a chance encounter, Elea meets Guy de Chauliac, “Guigo,” the enigmatic personal physician to the powerful Pope Clement, who, against all odds, agrees to take her on as his apprentice. Under his tutelage, a whole new world opens to Elea—a world of status, wealth, and fascinating medical cases—but just as she starts to settle into her new position, the much-feared plague hits Europe, making Elea and Guigo's work more urgent than ever. And as if that weren’t enough, the disgraced Queen Joanna of Naples arrives in Avignon to stand trial for her husband’s murder—and she is pregnant and in need of a midwife, a role only Elea can fill. As the Black Death spreads like wildfire, leaving half the city dead in its wake—and as the queen's childbirth approaches—Elea finds herself battling what seems to be an unwinnable war. All the while, the people of Avignon are becoming more and more desperate for a scapegoat, and a group of religious heretics launch a witch hunt, one that could cost her everything.

Anna does boring things for terrible people because even criminals need office help and she needs a job. Working for a monster lurking beneath the surface of the world isn’t glamorous. But is it really worse than working for an oil conglomerate or an insurance company? In this economy?  As a temp, she’s just a cog in the machine. But when she finally gets a promising assignment, everything goes very wrong, and an encounter with the so-called “hero” leaves her badly injured.  And, to her horror, compared to the other bodies strewn about, she’s the lucky one. So, of course, then she gets laid off. With no money and no mobility, with only her anger and internet research acumen, she discovers her suffering at the hands of a hero is far from unique. When people start listening to the story that her data tells, she realizes she might not be as powerless as she thinks. Because the key to everything is data: knowing how to collate it, how to manipulate it, and how to weaponize it. By tallying up the human cost these caped forces of nature wreak upon the world, she discovers that the line between good and evil is mostly marketing.  And with social media and viral videos, she can control that appearance. It’s not too long before she’s employed once more, this time by one of the worst villains on earth. As she becomes an increasingly valuable lieutenant, she might just save the world. A sharp, witty, modern debut, Hench explores the individual cost of justice through a fascinating mix of Millennial office politics, heroism measured through data science, body horror, and a profound misunderstanding of quantum mechanics. 

In Tokyo, sixteen-year-old Nao has decided there's only one escape from her aching loneliness and her classmates' bullying, but before she ends it all, Nao plans to document the life of her great-grandmother, a Buddhist nun who's lived more than a century. A diary is Nao's only solace—and will touch lives in a ways she can scarcely imagine. Across the Pacific, we meet Ruth, a novelist living on a remote island who discovers a collection of artifacts washed ashore in a Hello Kitty lunchbox—possibly debris from the devastating 2011 tsunami. As the mystery of its contents unfolds, Ruth is pulled into the past, into Nao's drama and her unknown fate, and forward into her own future.  Full of Ozeki's signature humour and deeply engaged with the relationship between writer and reader, past and present, fact and fiction, quantum physics, history, and myth, A Tale for the Time Being is a brilliantly inventive, beguiling story of our shared humanity and the search for home.

When this longtime Modern Library favorite--filled with fifty-two stories of heart-stopping suspense--was first published in 1944, one of its biggest fans was critic Edmund Wilson, who in The New Yorker applauded what he termed a sudden revival of the appetite for tales of horror. Represented in the anthology are such distinguished spell weavers as Edgar Allen Poe ("The Black Cat"), Wilkie Collins ("A Terribly Strange Bed"), Henry James ("Sir Edmund Orme"), Guy de Maupassant ("Was It a Dream?"), O. Henry ("The Furnished Room"), Rudyard Kipling ("They"), and H.G. Wells ("Pollock and the Porroh Man"). Included as well are such modern masters as Algernon Blackwood ("Ancient Sorceries"), Walter de la Mare ("Out of the Deep"), E.M. Forster ("The Celestial Omnibus"), Isak Dinesen ("The Sailor-Boys Tale"), H.P. Lovecraft ("The Dunwich Horror"), Dorothy L. Sayers ("Suspicion"), and Ernest Hemingway ("The Killers"). "There is not a story in this collection that does not have the breath of life, achieve the full suspension of disbelief that is so particularly important in [this] type of fiction," wrote the Saturday Review . With an introduction and notes by Phyllis Cerf Wagner and Herbert Wise.

As a botanist, Robin Wall Kimmerer has been trained to ask questions of nature with the tools of science. As a member of the Citizen Potawatomi Nation, she embraces the notion that plants and animals are our oldest teachers. In Braiding Sweetgrass, Kimmerer brings these lenses of knowledge together to show that the awakening of a wider ecological consciousness requires the acknowledgment and celebration of our reciprocal relationship with the rest of the living world. For only when we can hear the languages of other beings are we capable of understanding the generosity of the earth, and learning to give our own gifts in return.

A red algae bloom has taken over Mercy, Louisiana. Ever since a devastating hurricane, mutated wildlife lurks in the water that rises by the day. But Mercy has always been a place where monsters walk in plain sight. Especially at its heart: The Cove, where Noon’s life was upended long before the storm at a party her older boyfriend insisted on. Now, Noon is stuck navigating the submerged town with her mom, who believes their dead family has reincarnated as sea creatures. Alone with the pain of what happened that night at the cove, Noon buries the truth: she is not the right shape. When Mercy’s predatory leader demands Noon and her mom capture the creature drowning residents, she reluctantly finds an ally in his deadly hunter of a daughter and friends old and new. As the next storm approaches, Noon must confront the past and decide if it’s time to answer the monster itching at her skin.

A young man descends into Purgatory to save his wife and unborn child in this gorgeous, illustrated tale of wonder and terror from the mind of master storyteller and acclaimed artist Brom Fresh out of jail and eager to start a new life, Chet Moran and his pregnant wife, Trish, leave town to begin again. But an ancient evil is looming, and what seems like a safe haven may not be all it appears . . . Snared and murdered by a vile, arcane horror, Chet quickly learns that pain and death are not unique to the living. Now the lives and very souls of his wife and unborn child are at stake. To save them, he must journey into the bowels of purgatory in search of a sacred key promised to restore the natural order of life and death. Alone, confused, and damned, Chet steels himself against the unfathomable terrors awaiting him as he descends into death’s stygian blackness. With Lost Gods, Brom’s gritty and visceral prose takes us on a haunting, harrowing journey into the depths of the underworld. Thrust into a realm of madness and chaos, where ancient gods and demons battle over the dead, and where cabals of souls conspire to overthrow their masters, Chet plays a dangerous game, risking eternal damnation to save his family.