Author of Empire of Sand and Realm of Ash Tasha Suri's The Jasmine Throne, beginning a new trilogy set in a world inspired by the history and epics of India, in which a captive princess and a maidservant in possession of forbidden magic become unlikely allies on a dark journey to save their empire from the princess's traitor brother. Imprisoned by her dictator brother, Malini spends her days in isolation in the Hirana: an ancient temple that was once the source of the powerful, magical deathless waters — but is now little more than a decaying ruin. Priya is a maidservant, one among several who make the treacherous journey to the top of the Hirana every night to clean Malini’s chambers. She is happy to be an anonymous drudge, so long as it keeps anyone from guessing the dangerous secret she hides. But when Malini accidentally bears witness to Priya’s true nature, their destinies become irrevocably tangled. One is a vengeful princess seeking to depose her brother from his throne. The other is a priestess seeking to find her family. Together, they will change the fate of an empire.

What will the end of the world look like? Will it be an old man slowly turned to gold, flowers raining from the sky, or a hole cut through the wire fencing that keeps the monsters out? Is it someone you love wearing your face, or a good old fashioned inter-dimensional summoning? Does it sound like a howl outside the window, or does it look like coming home? This startling and irresistibly witty collection from the phenomenally talented Moïra Fowley is an exploration of all our darkest impulses and deepest fears.

Author of sales sensation If We Were Villains returns with a story about a ragtag group of night shift workers who meet in the local cemetery to unearth the secrets lurking in an open grave. Every night, in the college’s ancient cemetery, five people cross paths as they work the late shift: a bartender, a rideshare driver, a hotel receptionist, the steward of the derelict church that looms over them, and the editor-in-chief of the college paper, always in search of a story. One dark October evening in the defunct churchyard, they find a hole that wasn’t there before. A fresh, open grave where no grave should be. But who dug it, and for whom? Before they go their separate ways, the gravedigger returns. As they trail him through the night, they realize he may be the key to a string of strange happenings around town that have made headlines for the last few weeks—and that they may be closer to the mystery than they thought. Atmospheric and eerie, with the ensemble cast her fans love and a delightfully familiar academic backdrop, Graveyard Shift is a modern Gothic tale in If We Were Villains author M. L. Rio’s inimitable style.

The first love of a teenage girl is a powerful thing, particularly when the object of that desire is her best friend, also a girl. It's the kind of power that could implode a family, a friendship, a life. On a quiet summer night in Newcastle, 1972, a choice must be to act upon these desires, or suppress them? To live an openly queer life, or to try desperately not to?Over the following three decades, these two lives almost intersect in pivotal moments, the distance between them at times drawing so thin they nearly collide. Against the backdrop of an era including Australia's first Mardi Gras and the AIDS pandemic, we see these two lives ebb and flow, with joy and grief and loss and desire, until at last they come together in the most beautiful and surprising of fashions.A Language of Limbs is about love and how it's policed, friendship and how it transcends, and hilarity in the face of heartbreak - the jokes you tell as you're dying and the ways laughing at a funeral softens the edges of our grief. An unashamed celebration of queer life in all its vibrancy and colour, this story finds the humanity in all of us, and demands we claim our futures for ourselves.

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.

A collection of scenes from Nezha's point of view throughout the first two novels in the trilogy, and in an opening scene of the final novel in the trilogy. It is recommended to be read after the first 5 chapters of The Burning God (Book #3).

At the end of the Second World War, Cyril Conroy combines luck and a single canny investment to begin an enormous real estate empire, propelling his family from poverty to enormous wealth. His first order of business is to buy the Dutch House, a lavish estate in the suburbs outside of Philadelphia. Meant as a surprise for his wife, the house sets in motion the undoing of everyone he loves. The story is told by Cyril’s son Danny, as he and his older sister, the brilliantly acerbic and self-assured Maeve, are exiled from the house where they grew up by their stepmother. The two wealthy siblings are thrown back into the poverty their parents had escaped from and find that all they have to count on is one another. It is this unshakable bond between them that both saves their lives and thwarts their futures. Set over the course of five decades, The Dutch House is a dark fairy tale about two smart people who cannot overcome their past. Despite every outward sign of success, Danny and Maeve are only truly comfortable when they’re together. Throughout their lives, they return to the well-worn story of what they’ve lost with humor and rage. But when at last they’re forced to confront the people who left them behind, the relationship between an indulged brother and his ever-protective sister is finally tested.

On the wheel of fortune, who will emerge on top... and who will die? When Ann Stilwell arrives in New York City, she hopes to spend her summer working as a curatorial associate at the Metropolitan Museum of Art. Instead, she finds herself assigned to The Cloisters, a gothic museum and garden renowned for its collection of medieval and Renaissance art. There she is drawn into a small circle of charismatic but enigmatic researchers, including Patrick Roland, the museum's mercurial curator who specializes in the history of tarot; Rachel Mondray, Patrick's beautiful curatorial associate and sometime muse; and Leo Bitburg, the gardener who nurtures the museum's precious collection of medicinal and poison plants. Relieved to have left her troubled past in rural Washington behind her, Ann longs for the approbation of her colleagues and peers and is happy to indulge their more outlandish theories, only to find that their fascination with fortune-telling runs deeper than academic obsession. Patrick is determined to prove that ancient divination holds the key to the foretelling of the future. And when Ann stumbles across a breakthrough in the form of a mysterious and previously-believed lost deck of 15th-century Italian tarot cards, she finds herself at the centre of a dangerous game of power, toxic friendship and ambition. Then there is an unexpected and devastating death, and suddenly everyone becomes a suspect. As the game being played within the Cloisters spirals out of control, Ann must decide if the tarot cards can not only teach her about the past, but also about her future.

Night of the Witch meets The Handmaid's Tale in this queer Gothic horror debut set against the monstrous Bavarian forest of Hexenwald.  ★“Hauntingly poetic and monstrously romantic.”—Ava Reid, #1 New York Times bestselling author of A Study in Drowning   ★"A dark and dreadful tour de force of a debut! Exquisitely beautiful and horrific."—Erin A. Craig, #1 New York Times bestselling author of The Thirteenth Child In the Bavarian village of Heulensee, women feed their terror to an ancient Saint of Fear. In return, it protects them from the monsters of the Hexenwald, the haunted forest on their doorstep. Born unfearing, Ilse Odenwald has felt like an outsider all her life. When the Saint discovers Ilse’s divergence, it levels a she must find her fear, or the Saint will devour her sister, Dorothea—the only person who loves Ilse unconditionally.    Unwilling to lose Thea, Ilse enters the Hexenwald. She hopes that its horrors will finally unleash her fear and, in turn, save her sister. But during her quest Ilse inadvertently uncovers something more sinister than the monsters that hunt a darkness within herself. As the forest closes in, Ilse’s hopes for a normal future begin to slip away, as well as the chance to save not just Thea, but all women in Heulensee. Bewitching and timely, this gripping debut novel is a dark fairy tale about the fate of girls and women in a world grown accustomed to sacrificing them.  

From Chuck Tingle, author of the USA Today bestselling Camp Damascus, comes a new heart-pounding story about what it takes to succeed in a world that wants you dead. Misha is a jaded scriptwriter who has been working in Hollywood for years, and has just been nominated for his first Oscar. But when he's pressured by his producers to kill off a gay character in the upcoming season finale―"for the algorithm"―Misha discovers that it's not that simple. As he is haunted by his past, and past mistakes, Misha must risk everything to find a way to do what's right―before it's too late.

Read the original inspiration for the new, boldly reimagined film from producers Oprah Winfrey and Steven Spielberg, starring Taraji P. Henson, Danielle Brooks, and Fantasia Barrino. Winner of the Pulitzer Prize and the National Book Award A powerful cultural touchstone of modern American literature, The Color Purple depicts the lives of African American women in early twentieth-century rural Georgia. Separated as girls, sisters Celie and Nettie sustain their loyalty to and hope in each other across time, distance and silence. Through a series of letters spanning twenty years, first from Celie to God, then the sisters to each other despite the unknown, the novel draws readers into its rich and memorable portrayals of Celie, Nettie, Shug Avery and Sofia and their experience. The Color Purple broke the silence around domestic and sexual abuse, narrating the lives of women through their pain and struggle, companionship and growth, resilience and bravery. Deeply compassionate and beautifully imagined, Alice Walker's epic carries readers on a spirit-affirming journey towards redemption and love. “Reading The Color Purple was the first time I had seen Southern, Black women’s literature as world literature. In writing us into the world—bravely, unapologetically, and honestly—Alice Walker has given us a gift we will never be able to repay.” —Tayari Jones “The Color Purple was what church should have been, what honest familial reckoning could have been, and it is still the only art object in the world by which all three generations of Black artists in my family judge American art.” —Kiese Laymon