Cora is a slave on a cotton plantation in Georgia. Life is hell for all the slaves, but especially bad for Cora; an outcast even among her fellow Africans, she is coming into womanhood--where even greater pain awaits. When Caesar, a recent arrival from Virginia, tells her about the Underground Railroad, they decide to take a terrifying risk and escape. Matters do not go as planned--Cora kills a young white boy who tries to capture her. Though they manage to find a station and head north, they are being hunted. In Whitehead's ingenious conception, the Underground Railroad is no mere metaphor--engineers and conductors operate a secret network of tracks and tunnels beneath the Southern soil. Cora and Caesar's first stop is South Carolina, in a city that initially seems like a haven. But the city's placid surface masks an insidious scheme designed for its black denizens. And even worse: Ridgeway, the relentless slave catcher, is close on their heels. Forced to flee again, Cora embarks on a harrowing flight, state by state, seeking true freedom. Like the protagonist of Gulliver's Travels, Cora encounters different worlds at each stage of her journey--hers is an odyssey through time as well as space. As Whitehead brilliantly re-creates the unique terrors for black people in the pre-Civil War era, his narrative seamlessly weaves the saga of America from the brutal importation of Africans to the unfulfilled promises of the present day. The Underground Railroad is at once a kinetic adventure tale of one woman's ferocious will to escape the horrors of bondage and a shattering, powerful meditation on the history we all share.

In the house of Helios, god of the sun and mightiest of the Titans, a daughter is born. But Circe is a strange child--neither powerful like her father nor viciously alluring like her mother. Turning to the world of mortals for companionship, she discovers that she does possess power: the power of witchcraft, which can transform rivals into monsters and menace the gods themselves. Threatened, Zeus banishes her to a deserted island, where she hones her occult craft, tames wild beasts, and crosses paths with many of the most famous figures in all of mythology, including the Minotaur, Daedalus and his doomed son Icarus, the murderous Medea, and, of course, wily Odysseus. But there is danger, too, for a woman who stands alone, and Circe unwittingly draws the wrath of both men and gods, ultimately finding herself pitted against one of the most terrifying and vengeful of the Olympians. To protect what she loves most, Circe must summon all her strength and choose, once and for all, whether she belongs with the gods she is born from or with the mortals she has come to love.

A viral linguist’s account of the ways our vocabularies are evolving, the Internet’s influence on communication, and what our use of language reveals about the modern worldFrom the rise of leetspeak and words such as unalive to the trend of adding “-core” to different influencer aesthetics, the Internet has ushered in an unprecedented linguistic upheaval. We’re entering an entirely new era of etymology, heralded by the invisible forces driving social media algorithms. Thankfully, Algospeak is here to explain. As a professional linguist, Adam Aleksic understands the gravity of language and the way we use he knows the ways it has morphed and changed, how it reflects society, and how, in its everyday usage, we carry centuries of human history on our tongues. As a social media influencer, Aleksic is also intimately familiar with the Internet’s reach and how social media impacts the way we engage with one another. New slang emerges and goes viral overnight. Accents are shaped or erased on YouTube. Grammatical rules, loopholes, and patterns surface and transform language as we know it. Our interactions—and our social norms and habits—shift into something completely different.As Aleksic uses original surveys, data, and Internet archival research to usher us through this new linguistic landscape, he also illuminates how communication is changing in both familiar and unprecedented ways. From our use of emojis to sentence structure to the ways younger generations talk about sex and death (see unalive in English and desvivirse in Spanish), we are in a brand-new world, one shaped by algorithms and technology. Algospeak is an energetic, astonishing journey into language, the Internet, and what this intersection means for all of us.

A swoon-worthy debut queer Victorian romance in which two debutantes distract themselves from having to seek husbands by setting up their widowed parents, and instead find their perfect match in each other—the lesbian Bridgerton/Parent Trap you never knew you needed! Gwen has a brilliant beyond brilliant idea. It’s 1857, and anxious debutante Beth has just one season to snag a wealthy husband, or she and her mother will be out on the street. But playing the blushing ingenue makes Beth’s skin crawl and she’d rather be anywhere but here. Gwen, on the other hand, is on her fourth season and counting, with absolutely no intention of finding a husband, possibly ever. She figures she has plenty of security as the only daughter of a rakish earl, from whom she’s gotten all her flair, fun, and less-than-proper party games. “Let’s get them together,” she says. It doesn’t take long for Gwen to hatch her latest scheme: rather than surrender Beth to courtship, they should set up Gwen’s father and Beth’s newly widowed mother. Let them get married instead. “It’ll be easy” she says. There’s just…one, teeny, tiny problem. Their parents kind of seem to hate each other. But no worries. Beth and Gwen are more than up to the challenge of a little twenty-year-old heartbreak. How hard can parent-trapping widowed ex-lovers be? Of course, just as their plan begins to unfold, a handsome, wealthy viscount starts calling on Beth, offering up the perfect, secure marriage. Beth’s not mature enough for this… Now Gwen must face the prospect of sharing Beth with someone else, forever. And Beth must reckon with the fact that she’s caught feelings, hard, and they’re definitely not for her potential fiancé. That’s the trouble with matchmaking: sometimes you accidentally fall in love with your best friend in the process.

The Duke and I is a romance set in the Regency era. In the ballrooms and drawing rooms of Regency London, rules abound. From their earliest days, children of aristocrats learn how to address an earl and curtsey before a prince—while other dictates of the ton are unspoken yet universally understood. A proper duke should be imperious and aloof. A young, marriageable lady should be amiable… but not too amiable. Daphne Bridgerton has always failed at the latter. The fourth of eight siblings in her close-knit family, she has formed friendships with the most eligible young men in London. Everyone likes Daphne for her kindness and wit. But no one truly desires her. She is simply too deuced honest for that, too unwilling to play the romantic games that captivate gentlemen. Amiability is not a characteristic shared by Simon Basset, Duke of Hastings. Recently returned to England from abroad, he intends to shun both marriage and society—just as his callous father shunned Simon throughout his painful childhood. Yet an encounter with his best friend’s sister offers another option. If Daphne agrees to a fake courtship, Simon can deter the mamas who parade their daughters before him. Daphne, meanwhile, will see her prospects and her reputation soar. The plan works like a charm—at first. But amid the glittering, gossipy, cut-throat world of London’s elite, there is only one certainty: love ignores every rule...

Cancel culture addresses real harm...and sometimes causes more. It’s time to think this through. “Cancel” or “call-out” culture is a source of much tension and debate in American society. The infamous "Harper’s Letter,” signed by public intellectuals of both the left and right, sought to settle the matter and only caused greater division. Originating as a way for marginalized and disempowered people to address harm and take down powerful abusers, often with the help of social media, call outs are seen by some as having gone too far. But what is “too far” when you’re talking about imbalances of power and patterns of harm? And what happens when people in social justice movements direct their righteous anger inward at one another? In We Will Not Cancel Us, movement mediator Adrienne Maree Brown reframes the discussion for us, in a way that points to possible paths beyond this impasse. Most critiques of cancel culture come from outside the milieus that produce it, sometimes even from from its targets. However, Brown explores the question from a Black, queer, and feminist viewpoint that gently asks, how well does this practice serve us? Does it prefigure the sort of world we want to live in? And, if it doesn’t, how do we seek accountability and redress for harm in ways that reflect our values?

Was Ovid a surprising champion of women's sexual pleasure? Or did he just want them to fake it? Where did the British Museum curators hide the most pornographic of frescoes? And what exactly was the phallic wooden object excavated in 90's Northumberland? In APHRODISIA, Dr Jean Menzies dives into the hidden history of women's sexuality in Ancient Greece and Rome. The classical world stretched across the Mediterranean for more than a millennium, its people and cultures wide and varied and its sexual proclivities equally so. Yet so often when we read about sex in antiquity it is about the men folk first and which brothels they were visiting, how they balanced wives and lovers, and what they got up to in the gymnasium. Delving into the literature, art and artefacts of the ancient world, from sex toys to seduction tips to kink, Dr Jean Menzies instead centres women and their desire. In doing so, she uncovers the many faces of women's sexuality over the course of thousands of years, and asks intriguing, and sometimes provocative questions about women, sex and desire today.

Ursula K. Le Guin’s magnificent work of imagination, a visionary, genre-crossing story about a future utopian community on the Northern California coast. A masterly, hypnotic and her most consistently lyric and luminous book. This new edition includes an introduction by Shruti Swamy, author of A House is a Body. Midway through her career, Ursula K. Le Guin embarked on one of her most detailed, impressive literary projects, a novel that took more than five years to complete. Blending story and fable, poetry, artwork, and song, Always Coming Home is this legendary writer’s fictional ethnography of the Kesh, a people of the far future living in a post-apocalyptic Napa Valley. Having survived ecological catastrophe brought on by relentless industrialization, the Kesh are a peaceful people who reject governance and the constriction of genders, limit population growth to prevent overcrowding and preserve resources, and maintain a healthy community in which everyone works to contribute to its well-being. This richly imagined story unfolds through a series of narrated “translations” that illuminate individual lives, including a woman named Stone Telling, who travels beyond the Valley and comes to reside with another tribe, the patriarchal Condor people. With sharp poignancy, Le Guin explores the complexities of the Kesh’s unified society and presents to us—in exquisite detail—their lives, histories, adventures, customs, language, and art.  In addition to poems and folk tales, Le Guin created verse dramas, records of oral performances, recipes, and even an alphabet and glossary of the Kesh language. The novel is illustrated throughout with drawings by artist Margaret Chodos and includes a musical component—original recordings of Kesh songs that Le Guin collaborated on with composer Todd Barton—bringing this utterly original and compelling world to life.

Propulsive and sexy, Creative Differences is a sapphic second-chance romance for fans of Here We Go Again and Daisy Jones & The Six. Swanboat was your favorite band's favorite band. But after one perfect record and one fraught, intimate tour, the confessional–indie rock trio—lead singer Amelia Wells, guitarist Ramona Sloane, and bassist Bea Fink—suddenly broke up. Five years later, Amelia is a star: She's transitioned into mainstream pop music, performing sold-out shows for obsessed fans. It's everything she's convinced herself she should want . . . even though her fame has started to feel less like success and more like loneliness. Ramona hasn't spoken to Amelia since the last night of the tour. She's content playing small crowds and avoiding Amelia's inescapable hit single, "Emergency Contact," during her slot at the local indie radio station. When Amelia's record label suggests a Swanboat reunion tour, she and Ramona each have their own reasons for agreeing. And they'd both do anything for Bea, who still doesn't know about the kiss that broke their band apart. All Ramona and Amelia have to do is get through two months of playing the songs that made them fall in love in the first place . . . and try not to do it all over again.

Curious Cats and Fantastical Felines gives an intriguing insight into the historical relationship between cats and humans by exploring the folklore, myths, and legends that relate to cats from around the globe. For thousands of years, cats and humankind have been inextricably intertwined. From the Ancient Egyptian Goddess Bastet to the cat demon Yokai of Japan, people have been fascinated, enthralled, and horrified in equal measure by everything feline-related. Throughout history, cats have been revered and reviled and everything in between. Worshipped as divine, blamed for plague and pestilence, or labeled as the demonic companions of witches—whether fair or foul, no other animal has attracted such consistent attention, a fact strongly illustrated by the vast number of myths, legends, sayings, superstitions, and tales that exist regarding these enigmatic creatures. Today, mankind is no less under the feline thrall, with cat memes, videos, and celebrity cat accounts numbering among the highest-ranking entertainment across the internet. Unknown to many, this cultural fascination has a deep and rich history than spans continents and millennia. Discover the roots of this age-old captivation with our feline counterparts and why they have been loved—or otherwise—by so many.

How do we give old words new voices? What must a translator lose - and might she gain - when she moves between languages, bringing ancient stories to modern life? Reflecting on the inspiration, interpretation and (mis)appropriation of words from Antiquity to today, Emily Wilson invites us to explore the translator's art and mind - and gives a wholly fresh insight into the joys and quandaries of her own work. From Athenian comedy and Rome's love of Greek culture to Han Kang's novels, Cardi B's lyrics and the discoveries she made whilst translating Homer, this is a playful and fascinating voyage into the promise, possibility and constant renewal of our founding classical culture.

In the house of Helios, god of the sun and mightiest of the Titans, a daughter is born. But Circe is a strange child--neither powerful like her father nor viciously alluring like her mother. Turning to the world of mortals for companionship, she discovers that she does possess power: the power of witchcraft, which can transform rivals into monsters and menace the gods themselves. Threatened, Zeus banishes her to a deserted island, where she hones her occult craft, tames wild beasts, and crosses paths with many of the most famous figures in all of mythology, including the Minotaur, Daedalus and his doomed son Icarus, the murderous Medea, and, of course, wily Odysseus. But there is danger, too, for a woman who stands alone, and Circe unwittingly draws the wrath of both men and gods, ultimately finding herself pitted against one of the most terrifying and vengeful of the Olympians. To protect what she loves most, Circe must summon all her strength and choose, once and for all, whether she belongs with the gods she is born from or with the mortals she has come to love.

"For sheer storytelling delight and pure adventure, Treasure Island has never been surpassed. From the moment young Jim Hawkins first encounters the sinister Blind Pew at the Admiral Benbow Inn until the climactic battle for treasure on a tropic isle, the novel creates scenes and characters that have fired the imaginations of generations of readers. Written by a superb prose stylist, a master of both action and atmosphere, the story centers upon the conflict between good and evil - but in this case a particularly engaging form of evil. It is the villainy of that most ambiguous rogue Long John Silver that sets the tempo of this tale of treachery, greed, and daring. Designed to forever kindle a dream of high romance and distant horizons, Treasure Island is, in the words of G. K. Chesterton, 'the realization of an ideal, that which is promised in its provocative and beckoning map; a vision not only of white skeletons but also green palm trees and sapphire seas.' G. S. Fraser terms it 'an utterly original book' and goes on to write: 'There will always be a place for stories like Treasure Island that can keep boys and old men happy.'