“Lyrical, mesmerizing, and otherworldly. . . stunning proof that Nghi Vo is one of the most original writers we have today. A beautiful, brutal, monstrous Hollywood fantasy.”―Taylor Jenkins Reid, New York Times bestselling author of The Seven Husbands of Evelyn Hugo Immortality is just a casting call away. World Fantasy Award Finalist Locus Award Finalist Ignyte Award Finalist An Amazon Best Book of 2022 One of NPR’s Best Books of 2022 Vulture’s #1 Fantasy Novel of 2022 Indie Next List Reading Group Book of 2023 Best of Year Selections at Apple Books | B&N Booksellers | LibraryReads | TIME Magazine | Oprah Daily | T he Philadelphia Inquirer | Publishers Weekly | Buzzfeed | Chicago Review of Books | LitHub | Book Riot | Paste Magazine | Geek Girl Authority | Bookish | The Mary Sue | New York Public Library | Vulture | Locus Recommended Reading List | Kobo | The Quill to Live | Goodreads | L. A. Public Library | Audible | Amazon | NPR An Indie Next and LibraryReads Pick A Brooklyn Library Prize Finalist Includes a Reading Group Guide It was magic. In every world, it was a kind of magic. “No maids, no funny talking, no fainting flowers.” Luli Wei is beautiful, talented, and desperate to be a star. Coming of age in pre-Code Hollywood, she knows how dangerous the movie business is and how limited the roles are for a Chinese American girl from Hungarian Hill―but she doesn't care. She’d rather play a monster than a maid. But in Luli's world, the worst monsters in Hollywood are not the ones on screen. The studios want to own everything from her face to her name to the women she loves, and they run on a system of bargains made in blood and ancient magic, powered by the endless sacrifice of unlucky starlets like her. For those who do survive to earn their fame, success comes with a steep price. Luli is willing to do whatever it takes―even if that means becoming the monster herself. Siren Queen offers up an enthralling exploration of an outsider achieving stardom on her own terms, in a fantastical Hollywood where the monsters are real and the magic of the silver screen illuminates every page.

Growing up in a housing estate in Glasgow, Mungo and James are born under different stars--Mungo a Protestant and James a Catholic--and they should be sworn enemies if they're to be seen as men at all. Yet against all odds, they become best friends as they find a sanctuary in the pigeon dovecote that James has built for his prize racing birds. As they fall in love, they dream of finding somewhere they belong, while Mungo works hard to hide his true self from all those around him, especially from his big brother Hamish, a local gang leader with a brutal reputation to uphold. And when several months later Mungo's mother sends him on a fishing trip to a loch in Western Scotland with two strange men whose drunken banter belies murky pasts, he will need to summon all his inner strength and courage to try to get back to a place of safety, a place where he and James might still have a future. Imbuing the everyday world of its characters with rich lyricism and giving full voice to people rarely acknowledged in the literary world, Young Mungo is a gripping and revealing story about the bounds of masculinity, the divisions of sectarianism, the violence faced by many queer people, and the dangers of loving someone too much.

Virginia Woolf's Orlando 'The longest and most charming love letter in literature', playfully constructs the figure of Orlando as the fictional embodiment of Woolf's close friend and lover, Vita Sackville-West. Spanning three centuries, the novel opens as Orlando, a young nobleman in Elizabeth's England, awaits a visit from the Queen and traces his experience with first love as England under James I lies locked in the embrace of the Great Frost. At the midpoint of the novel, Orlando, now an ambassador in Constantinople, awakes to find that he is now a woman, and the novel indulges in farce and irony to consider the roles of women in the 18th and 19th centuries. As the novel ends in 1928, a year consonant with full suffrage for women. Orlando, now a wife and mother, stands poised at the brink of a future that holds new hope and promise for women.

What did we want? To begin with, we wanted what half the population had got by just being born. It’s 1895. Amid laundry and bruises, Rina Pierangeli Faccio gives birth to the child of the man who raped her – the man she has been forced to marry. Unbroken, she determines to change her name and, alongside it, her life. 1902. Romaine Brooks sails for Capri. She has barely enough money for the ferry, nothing for lunch; her paintbrushes are bald and clotted. But she is sure she can sell a painting – and is fervent in her belief that the island is detached from all fates she has previously suffered. In 1923, Virginia Woolf writes: I want to make life fuller – and fuller. Told in a series of cascading vignettes, featuring a multitude of voices, After Sappho reimagines the lives of a brilliant group of feminists, sapphists, artists and writers in the late nineteenth and early twentieth century as they battle for liberation, justice and control over their own lives. Sarah Bernhardt, Colette, Eileen Gray, Lina Poletti: these are just a few of the women (some famous, others hitherto unsung) sharing the pages of a novel as fierce as it is luminous. Lush and poetic, furious and funny, After Sappho celebrates the women and trailblazers of the past – and offers hope for our present, and our futures.