CG Drews, acclaimed author of Don't Let the Forest In, returns with another deeply unsettling and yet hauntingly beautiful tale of murder and botanical body horror, perfect for fans of Andrew Joseph White and We Have Always Lived in the Castle. Evander has lived like a ghost in the forgotten corners of the Hazelthorn estate ever since he was taken in by his reclusive billionaire guardian, Byron Lennox-Hall, when he was a child. For his safety, Evander has been given three ironclad rules to follow: He can never leave the estate. He can never go into the gardens. And most importantly, he can never again be left alone with Byron's charming, underachieving grandson, Laurie. That last rule has been in place ever since Laurie tried to kill Evander seven years ago, and yet somehow Evander is still obsessed with him. But when Byron suddenly dies, Evander inherits Hazelthorn’s immense gothic mansion and acres of sprawling grounds, along with the entirety of the Lennox-Hall family's vast wealth. There’s just one caveat: He must choose a new guardian from amongst Laurie's scheming, backstabbing relatives to help manage the estate until he turns eighteen. Except Evander's sure his guardian was murdered, and Laurie may be the only one who can help him find the killer before they come for Evander next. Perhaps even more concerning is how the overgrown garden is refusing to stay behind its walls, slipping its vines and spores deeper into the house with each passing day. As the family’s dark secrets unravel alongside the growing horror of their terribly alive, bloodthirsty garden, Evander needs to find out what he’s really inheriting before the garden demands to be fed once more.

Koushun Takami's notorious high-octane thriller is based on an irresistible premise: a class of junior high school students is taken to a deserted island where, as part of a ruthless authoritarian program, they are provided arms and forced to kill one another until only one survivor is left standing. Criticized as violent exploitation when first published in Japan - where it then proceeded to become a runaway bestseller - Battle Royale is a Lord of the Flies for the 21st century, a potent allegory of what it means to be young and (barely) alive in a dog-eat-dog world. Made into a controversial hit movie of the same name, Battle Royale is already a contemporary Japanese pulp classic, now available for the first time in the English language.

Koushun Takami's notorious high-octane thriller is based on an irresistible premise: a class of junior high school students is taken to a deserted island where, as part of a ruthless authoritarian program, they are provided arms and forced to kill one another until only one survivor is left standing. Criticized as violent exploitation when first published in Japan - where it then proceeded to become a runaway bestseller - Battle Royale is a Lord of the Flies for the 21st century, a potent allegory of what it means to be young and (barely) alive in a dog-eat-dog world. Made into a controversial hit movie of the same name, Battle Royale is already a contemporary Japanese pulp classic, now available for the first time in the English language.

A classic of queer literature that’s as electrifying today as it was when it originally appeared in 1982, On a Woman’s Madness tells the story of Noenka, a courageous Black woman trying to live a life of her choosing. When her abusive husband of just nine days refuses her request for divorce, Noenka flees her hometown in Suriname, on South America's tropical northeastern coast, for the capital city of Paramaribo. Unsettled and unsupported, her life in this new place is illuminated by the passionate romances of the present but haunted by society’s expectations and her ancestral past. Translated into sensuous English for the first time by Lucy Scott, Astrid Roemer’s intimate novel—with its tales of plantation-dwelling snakes, rare orchids, and star-crossed lovers—is a blistering meditation on the cruelties we inflict on those who disobey. Roemer, the first Surinamese winner of the prestigious Dutch Literature Prize, carves out postcolonial Suriname in barbed, resonant fragments. Who is Noenka? Roemer asks us. “I’m Noenka,” she responds resolutely, “which means Never Again.”

The Flowers of Evil, which T.S. Eliot called the greatest example of modern poetry in any language, shocked the literary world of nineteenth century France with its outspoken portrayal of lesbian love, its linking of sexuality and death, its unremitting irony, and its unflinching celebration of the seamy side of urban life. Including the French texts and comprehensive explanatory notes to the poems, this extraordinary body of love poems restores the six poems originally banned in 1857, revealing the richness and variety of the collection.

The Flowers of Evil, which T.S. Eliot called the greatest example of modern poetry in any language, shocked the literary world of nineteenth century France with its outspoken portrayal of lesbian love, its linking of sexuality and death, its unremitting irony, and its unflinching celebration of the seamy side of urban life. Including the French texts and comprehensive explanatory notes to the poems, this extraordinary body of love poems restores the six poems originally banned in 1857, revealing the richness and variety of the collection.

A classic of queer literature that’s as electrifying today as it was when it originally appeared in 1982, On a Woman’s Madness tells the story of Noenka, a courageous Black woman trying to live a life of her choosing. When her abusive husband of just nine days refuses her request for divorce, Noenka flees her hometown in Suriname, on South America's tropical northeastern coast, for the capital city of Paramaribo. Unsettled and unsupported, her life in this new place is illuminated by the passionate romances of the present but haunted by society’s expectations and her ancestral past. Translated into sensuous English for the first time by Lucy Scott, Astrid Roemer’s intimate novel—with its tales of plantation-dwelling snakes, rare orchids, and star-crossed lovers—is a blistering meditation on the cruelties we inflict on those who disobey. Roemer, the first Surinamese winner of the prestigious Dutch Literature Prize, carves out postcolonial Suriname in barbed, resonant fragments. Who is Noenka? Roemer asks us. “I’m Noenka,” she responds resolutely, “which means Never Again.”