'Giada Scodellaro is one of the most astonishing writers of her generation and Ruins, Child is a visionary novel. Scodellaro refracts and redefines the canon of Black culture, the archive of Black experience. The result is a masterpiece that lives and breathes on the page, every sentence shimmering with wit, musicality, brilliance and verve.' Katie Kitamura

Praise for Some of Them Will Carry Me:

'The female protagonists who appear in Scodellaro's kinetic debut collection of stories find themselves in absurdist and fantastical scenarios that interrogate the nature of subjectivity.' The New Yorker, 'Best Books of 2022'

'Scodellaro's stories capture a broad spectrum of life's joy, disgust, complexity, and unusual specificity.' Booklist

'A wild and wonderful collection...auspicious and consistently surprising.' Publishers Weekly

Two hungry boys set out from their squat by a slow river on a not quite mythic quest for revenge. At the same time, a local pastor drives from his beachside home to visit a dying parishioner. What each means to the other will be revealed as brothers, Gark and Pell, run for their lives over one desperate night, across a coastal town haunted by its past.

The Cross Thieves is bold, mature and compassionate. And sprinkled with humour, 80s pop, carny lore, and the mysteries of philately. Fyfe's knowing eye for place, poverty and powerlessness and his empathy for the underdog is captured in an unforgettable story of profound emotional power.

*Shortlisted for the International Chaffinch Press Manuscript Award (Ireland)*

Chilling to read, cut with powerful energy and strong feeling.

T or Timothy lives on the economic margins, both using and selling methamphetamine in Mandurah. When a friend, Gulp, tragically dies and T grows close to Lori-Bird his life promises to become more centred. But he moves between loving and leaving her.

This is a lyrical and arresting portrait of characters who crave love but struggle with addiction and the tenuous yet intimate community connections it gives them. The spirit of the Peel landscape informs both T's identity and the lives of the people he encounters and offers a way out.

Intimate with suffering and beauty, T is also at times transcendent. A contemporary novel with the urgency of what Davies' Candy, Kerouac's On the Road, and Garner's Monkey Grip were to their own times.

'Confronting and discomfiting, with small moments of redemption T is very much a story for our times.' Kate Noske and Richard Rossiter (Hungerford Award Judges).

'There is nothing else currently being written that is quite as exciting. Its blend of realism, grittiness, pared back lyricism and magical realism is unique and hasn't been seen since the work of a powerful novelist of regional life like Tom Flood. T works the margins, both in terms of place and subject of the culture around meth use, in utterly compelling ways. This story needs to be told.' Lucy Dougan, Premier's Award winner and Westerly editor.

Ava spends her days at The Department, rebuilding lost species from the remaining fragments of art and scientific data. Her dying mother thinks she should quit. So does her lover, and the sex workers who loiter outside her apartment. But when a ghost from her past shows up, Ava is compelled to follow its broken song deep into the archives uncovering a secret that could reverse the age of silence.

Set in a time of mass extinction, Department of the Vanishing blends documentary poetry, archival image, and narrative verse to explore the vital questions: Can we live in a world without birdsong and is it possible to create a new opus with the fragments left over.

'Rare and resplendent. A full-bodied roar at the crimes of extinction and a psalm for the wonder of the living world.' Jennifer Mills

'A sexy, compelling and beautifully crafted elegy not only to birds but to feeling itself. The denouement is spectacular; I cheered and wept.' Angela O'Keeffe

'Simultaneously fragile and furious, intimate and immense, Department of the Vanishing is a remarkable achievement.' James Bradley

'Surprisingly seductive and at times deeply sad, Department of the Vanishing brilliantly explores what it takes to live life with grief for lost family and a vanishing wild.' Jane Messer

'The narrative moves at a cracking pace and the play with poetic form dovetails beautifully with the urgency of the story.' Toby Fitch

This is the third book of Musashi: The Novel, a sweeping three-book unabridged translation of Eiji Yoshikawa's bestselling masterpiece Japan's most beloved historical novel. Masterfully translated for the first time in its entirety by Alexander Bennett, this vivid and fast-paced story reveals the exploits and inner life of a man who finds not only his true purpose but also his humanity.

In this final book, Musashi is left to surmount one final obstacle the great swordsman Sasaki Kojiro, who is legendary for his skill with the sword. As Musashi journeys to fight Kojiro, he encounters old friends and new enemies. Devoting himself to meditation and Zen study, he realises that the pursuit of glory through violence is fruitless, and the only path to success can be found through introspection and discipline.

To become truly happy, he must defeat not only his greatest rival but his self-doubt, tying up loose ends in the process. He meets with Otsu as he prepares to fight Sasak, wielding only a wooden staff, with his destiny in the balance.

This unforgettable conclusion cements Musashi's place as one of literature's most compelling heroes, brought to English readers at last in its full, unabridged glory.

Alexander Bennett is a Professor of Japanese History, Martial Arts, and Budo Theory at Kansai University. He is a Director General of the International Budo University's Budo Sports Research Institute. He co-founded and publishes Kendo World, the first English-language Kendo journal, and holds black belts in several other martial arts. His published works include The Complete Musash and Hagakure: The Secret Wisdom of the Samurai.

This is the first book of Musashi: The Novel, a sweeping three-book unabridged translation of Eiji Yoshikawa's bestselling masterpiece Japan's most beloved historical novel. Masterfully translated for the first time in its entirety by Alexander Bennett, this vivid and fast-paced story reveals the exploits and inner life of a man who finds not only his true purpose but also his humanity.

Book One opens in the year 1600 at the Battle of Sekigahara, a scene of unimaginable carnage where Musashi lies wounded on the battlefield. After being imprisoned for three years, he wanders the countryside aimlessly as a vagabond, desperate to make a name for himself. He becomes a dueling Ronin a swordfighter without a master. And while his destiny seems clear, to achieve it he must leave his old life behind.

Alexander Bennett is a Professor of Japanese History, Martial Arts, and Budo Theory at Kansai University. He is a Director General of the International Budo University's Budo Sports Research Institute. He co-founded and publishes Kendo World, the first English-language Kendo journal, and holds black belts in several martial arts. His published works include The Complete Musash and Hagakure: The Secret Wisdom of the Samurai.

A book of unparalleled scope and vision, Your Name Here is a spectacular honeycomb of books-within-books. In this death-defying feat of ambition, collaborators Helen DeWitt and Ilya Gridneff weave together America's 'War on Terror', countless years of literary history, authorial sleight of hand, Scientology, dream analysis, multiple languages, emails, images, graphs, into something wondrous and unique.

A metafictional Pygmalion story reminiscent of Charlie Kaufman's Oscar-nominated Adaptation, or Italo Calvino's If on a winter's night a traveler; Your Name Here is a rare work of art that captures the process of becoming itself. A reminder that a masterpiece and a doomed voyage look the same at the start.

'A work of genius...What began as a playful collaboration became, like most of DeWitt's work, weirder, riskier and more ambitious. After at least 20 drafts and countless revisions, it morphed into a 600-page work that resists categorisation and almost defies description.' The New York Times Magazine

'An audacious metafiction...Readers will be left breathless.' Publishers Weekly,Starred Review

'An ouroboros and a big one at that of a postmodern yarn that threatens to swallow itself at any moment...At once bewildering and beguiling, and a groaning-table feast of words.' Kirkus Reviews

'DeWitt is a brilliant risk-taker. I truly have no idea what to expect.' The New York Times, '10 Things We're Excited About This Fall'

'Refreshing[ly] bold...The structure produces opportunities for tension and momentum, winding around a convergence in which everything feels as if it is just around the corner.' Los Angeles Review of Books

'This is hit-and-run, take-no-prisoners writing.' Times Literary Supplement

'Although the book may appear, to begin with, to be plotless, it turns out to be tightly organised: a Godard-like enfilade of shaftings, a frontispiece-of-Leviathan-type portrait of the world as a great 'Biz' made up of millions of little bizzes... Your Name Hereis a novel that doesn't really believe in novels. The writing is delightfully shameless, dishevelled and dissolute; globalised and pornified and digitised somehow, bit after bit after bit.' The London Review of Books

'Peerless.' Lauren Oyler, author ofFake Accounts

'Helen DeWitt and Ilya Gridneff'sYour Name Herehas been the novel of the century for almost two decades, despite almost no one having read it. Now, at long last,Your Name Hereis here. Not a rumor, not an excerpt, not a PDF: this is the real thing a hilarious, insatiably imaginative meta-meta-meta-novel that takes every risk and plays every card and captures, maybe like no other novel, the internet's jarring dislocations and formal possibilities. Still wildly ahead of its time,Your Name Herecontains a multitude of voices so funny, so dark, so alive to every contingency that I wish it were twice as long. What a blast!' Mark Krotov, coeditor ofn+1andThe Intellectual Situation

Ilya Gridneffis a Toronto-based journalist working for the Financial Times. Over the years he has written articles for The Baffler, Vice, The Guardian, The Sydney Morning Herald,and Foreign Policy. He has lived and worked in Somalia, Kenya, South Sudan, Papua New Guinea, London and Berlin.

Dipping into the rabbit hole of digital eroticism, Seasonal meets Lszl, a male sub who volleys back their cerebral sexts and is seeking a dominant guide. His dating-app profile thinly veils his desire to be annihilated. It's a desire that Seasonal senses they can fulfil. But to do it, Seasonal must forget the hard earned ways of keeping themself safe they developed in the milieu of violence and sexual threat that marked their upbringing in working-class, small-town Australia. At home, men were usually a threat. What if the roles were reversed?

Seasonal and Lszl embark on an experiment in remaking intimacy outside the Republic of Gender. But as it continues, the two realise they are staging separate confrontations with domination: Seasonal finds they must confront what it has meant to be raised as woman in Australia, while Lszl stages his own confrontation with his decision to leave Viktor Orbn's Hungary. As the two improvise a theatre of domination in search of freedom, the energies of their sexuality stalk this collaboration, threatening to give them exactly what they bargained or begged for.

A reverse novel of education, where two people try to unlearn everything they think they know about intimacy, Anna Poletti's hello, world? dares to fully face the violence, beauty, and uncharted territories of human sexuality.

Part allegory in the spirit of Animal Farm, part Art Brut parable, Krank Fuss unfolds against the background of an impending social catastrophe, unsettlingly echoing the world today. It is the story of the innocent discovering the cruelty of the natural world, seeking for another way that might allow the delicate Wonder of Life to peak above the nastiness, brutishness and brevity of her apparent Fate.

Miranda, her husband Louis, and their infant daughter are set to spend the summer in a rented villa in Tuscany. He's a self-assured young American actor; she, a well-educated, well-bred English ingenue. But when Louis is called away to a shoot, Miranda is left alone with her baby in the remote Italian countryside until a young Italian named Oreste arrives, claiming to have been invited by her now-absent husband.

Miranda quickly falls under the interloper's spell and into his arms launching into a feverish affair that threatens to dissolve her already fragile, fracturing sense of self. As events spiral further out of her control, the novel hurtles headlong toward its horrifying conclusion.

Written in the same 'limpid, assured style: cruel, yes, but not detached or apathetic' (Harper's Magazine) as Lord Jim at Home, Dinah Brooke's transgressive debut remains every bit as shocking as when it was first published in 1971.

'A devastating account of the sexual awakening of an English lady... An intense, fastidiously crafted and disturbing novel.' Publishers Weekly

'The best descriptions of the sheer illogicality and waywardness of sex and love that I have ever read.' The Scotsman

'[A] brilliant forgotten novelist.' Claire Allfree, The Telegraph

'Brooke has a limpid, assured style: cruel, yes, but not detached or apathetic...It's frigid fun.' Dan Piepenbring, Harper's Magazine

'You can only glory in her skill...Brooke [has] immoderate talents.' M. John Harrison, The Guardian Observer

Emma Cline is the author of The Girls, the story collection Daddy, and The Guest. The winner of the Plimpton Prize, Cline was also named one of Granta's Best Young American Novelists. In 2021, she won an O. Henry Prize for 'White Noise', and is a 2024 Guggenheim Foundation Fellow.

Recent praise for HEAT:

'The revival of HEAT journal has been one of the high points of the year. In the 1990s and 2000s, HEAT was the most exciting, forward-looking literary magazine in the country. After more than a decade on ice, this new series has raised the bar once again. Elegantly designed and thoughtfully curated, and including work from canonical Australian writers to emerging voices to authors in translation, the journal reminds us how crucial such organs are to the vigour and health of our literary ecosystem.' Geordie Williamson, The Saturday Paper's 'Best of 2022'

'So slender and elegant, nothing wasted, nothing grandiose and beautiful work.' Helen Garner

'HEAT magazine was a trailblazer from the day it was launched...[The new series is] still dedicated to publishing non-Anglophone views of the world, alternatives to the mainstream and points of view that are both thought-provoking and expressed in high literary style.' Openbook, NSW State Library Magazine

'A very beautiful and stylish object...long may this new series of HEAT continue!' Sarah Holland-Batt

'I welcome the return of HEAT. Readers and writers alike will revel in its daring audacity, bold exploration and innovative celebration of literature.' Alexis Wright

'HEAT is eclectic and eccentric, bold and often feisty, and above all else, it is a journal that always gives a freer rein to its writers, that we might gallop wherever we will.' Fiona Wright

Researchers prying into an obscure manuscript come face to face with its ghoulish guardian. A bookseller digging through an attic disturbs something far more dangerous than dust. An uncanny tome tempts its reader onto a path of untold evil. Welcome to The Haunted Library, a collection of fourteen tales steeped in the dark psychic traces found in the stacks and shelves of libraries, bookshops, and other troves of hidden knowledge.

Including stories from rare pulp magazines, classics from the minds of M. R. James, L. P. Hartley and Margaret Irwin, and modern chillers from Penelope Lively and C. J. Faraday, this volume invites you into a hushed realm of cursed authors, ghostly bibliophiles, and readers haunted by the weird powers of the written word.

Pulp tales of alien forces emerging from the ice and a battle between hunter and invisible man-eating duck creature drift alongside modern horror from indigenous Arctic voices to show the extent and endurance of the lure of these sublime landscapes.

Life for the staff of the West End boutique Christophe et Cie is hard enough with all the pressures of delivering the ambitious Mr. Bevan's vision and then comes murder, a poisoning via the toxic crystals of hat-cleaner, pitching haute couture into heinous crime.

Faced with a fashionable collection of overwrought designers, buttoned-up models, downtrodden sales girls and tyrannical middle-managers, the dashing Inspector Charlesworth of Scotland Yard must disentangle workplace grudges from deadly motives before the killer can make a trend of murder. First published in 1941, Brand's debut mystery is brimming with the caustic wit, ingenious misdirection and ruthless twists that would later earn her a place among the queens of classic crime fiction.

'It is a very long time since I have read a better story. Oh yes, this is not only the book of the month, but the book of the year.' Raymond Postgate in Time and Tide, April 1941

'A bull's-eye! Miss Brand has succeeded not only with the puzzle (which is uncommonly good), but even more with the atmosphere.' Illustrated London News

'This new writer of mystery tales is welcome, for she has a cheerfully satiric manner... The reader is kept on tenterhooks until the end.' Daily Telegraph

'From time to time there is published a mystery story which is also a piece of good writing. Such a novel is Cat and Mouse...a mystery novel for the connoisseur.' Glasgow Herald, 1950

'This department has never before admitted its inability to put a book down. But I had trouble with Cat and Mouse...A fine melodrama, with a cheerful disregard for the sterile rules of the detective game.' News Chronicle, 1950

Felix Leiter James Bond's trusted friend and ally takes center stage in a brand-new adventure by legendary 007 novelist, Raymond Benson.

It is 1952. Felix Leiter has returned to Manhattan after losing his job at the CIA. Determined to continue doing what he loves, he finds himself working at Pinkerton's Detective Agency. What starts as a simple surveillance job turns into a matter of life and death when Felix stumbles upon a murder and the beautiful, yet secretive, Dora Wysocki. When Felix agrees to accompany Dora on a road trip from New York to Texas the mystery grows - along with the heat between them - as danger and deceit lurks behind every corner.

In the Australian desert, a nuclear bomb explodes. There are no survivors and no clues about who has made it or detonated it. In England, two police officers are shot dead when they apprehend a cargo vessel in Portsmouth dock. Vast quantities of heroin are later found on board. And in Hong Kong, an explosion rips through one of the colony's famous floating restaurants, killing the entire Board of Directors of EurAsia Enterprises Ltd, a multi-billion dollar shipping corporation.

The People's Republic of China is about to resume control after a century and a half of British rule and the colony is a powder keg waiting to explode. The tension reaches breaking point when a solicitor from one of Britain's most prestigious law firms is killed in a car bomb at Government House.

These apparently random events are connected and Bond must find out how and why. From the heady casinos of Macau to the seedy strip clubs of Kowloon, 007's investigations bring him into conflict with ruthless Triad gangs, a power-hungry Chinese general and a beautiful night club hostess called Sunni Pei.

All inquiries seem to lead to EurAsia Enterprises Ltd and its assassinated owner. James Bond is about to come up against one of the most formidable adversaries of his career.

The infamous girl monsters of nineteenth-century fiction gather in London and form their own club. In the imaginary country of Thule, characters from folklore band together to fight a dictator. An intrepid girl reporter finds the hidden land of Oz and joins its invasion of our world. The author writes the autobiography of her alternative life and a science fiction love letter to Budapest. The White Witch conquers England with snow and silence.

Stephen Graham Jones takes familiar horror tropes zombies, camping mishaps, damaged children and intertwines them with the dark forces of human nature to create unique and unforgettable short fiction. These thirteen tales run the gamut, immersing you in worlds you think you've seen before, but with outcomes you'll never see coming.

In 'Father, Son, Holy Rabbit', a dad and his child are lost in a snowstorm and learn what the true cost of survival is. A snake-oil salesman makes his way across Arizona territory, peddling his wares to unsuspecting customers and leaving ghost towns in his wake in 'Lonegan's Luck'. While in 'Raphael', four twelve-year-old outcasts, seemingly invisible to everyone around them, make up a 'scare' club, pushing themselves further and further into the unthinkable.

As Laird Barron says in his introduction, 'The Ones Who Got Away is a slippery collection; it resists and gnaws at the bonds of genre, yet may be the most pure horror book I've come across.'

Jump in and hold on for your life...

'The twisty endings, villainous characters, and truly shocking scenarios make several of these disturbing stories truly unforgettable.' Publishers Weekly

'Readers looking for horror can't go wrong with Stephen Graham Jones and diving into these thirteen collected short stories is the perfect way to countdown to Halloween night.' Bookish

'The Ones Who Got Away is the perfect showcase for [Jones's] wide-array of literary acrobatics.' Dark Scribe Magazine

Patricia A. McKillip has been widely hailed as one of fantasy's most significant authors. She was lauded as 'rich and regal' (the New York Times), 'enchanting' (the Washington Post), and 'luminous' (Library Journal).

Within McKillip's magical landscapes, a mermaid statue comes to life; princesses dance with dead suitors; a painting and a muse possess a youthful artist; seductive sea travelers enrapture distant lovers, a time-traveling angel endures religious madness; and an overachieving teenage mage discovers her own true name.

Analog Days is a snapshot of a circle of friends living through the sorrows and joys of a particular inflection point in history. Amid the ever-present news cycles, watching the world shift around them, they fall back on film and friendship and art as the last bastions of meaning in their fragmented lives. Moving from coffee shops to bars, from New York City to San Francisco, Analog Days immerses us in the individual lives set adrift among the pivotal events of our recent history.

Ana, a literature professor, plans her remote classes while confined to her apartment during lockdown. Her lover, Alice, has died of Covid. In her place are a series of animals that demand Ana's care and attention: an overbearing pangolin, a swarm of insects, a giant bat.

Amid changes in medication and fraught faculty meetings, Ana's grip on reality loosens. She begins to devise a syllabus on the financialisation of art and life, posing questions about labour and intimacy she will use her own body to answer. Her apartment fills with creatures, her teaching slides into absurd allegory, and her sense of what is real, permissible, or politically legible fractures.

Equal parts tender and grotesque, Pandora is a hallucinatory portrait of a mind and a world in collapse, a razor-sharp meditation on desire, delusion, and the absurd endurance of the human.

Julia Sanches is a translator of Portuguese, Spanish, and Catalan. She has translated works by Susana Moreira Marques, Claudia Hernndez, Daniel Galera, and Eva Baltasar, among others.

Fourteen-year-old Billie rarely crosses the boundaries of her high-rise housing estate. By the end of the month their money just about stretches to pasta with ketchup, but her mother, Marika, lights up Billie's world with her imagination and big heart.

One day they receive an unwelcome visit from her Hungarian grandmother, and Billie loses much more than the colourful everyday life she shared with her mother. No longer able to ask Marika questions, Billie sets off alone in their old Nissan determined to meet the father she never knew and find out why she keeps dreaming about the sea, even though she's never been there.

Longlisted for the German Book Prize 2023, Paradise Garden is a spellbinding journey and a deeply affecting story of class, resilience and belonging.

'Elena Fischer writes so lovingly about sadness that it is comforting.' Alina Bronsky

'An accomplished debut about the courage to get to know one's own origins and to accept them as they are.' Ursula Nowak for Deutschlandfunk, Cologne

'This novel is a small miracle and a big surprise.' Claudio Armbuster / ZDF, Mainz

Elena Fischer has been nominated for the German Book Prize and for the Harbour Front Literary Festival's Debut Prize 2023.

Daughter. Mother. Glory. Wife of The Devil O' Th' Moor. Hope Gleason has many names. The child of a shepherd raised in the remote moors of Northern England, Hope has always understood the satanic brutality of the land.

But when an ear-splitting, unknowable sound destroys the nearby village, Hope must embark on a dangerous journey to survive through the ravaged land with a lad, newly orphaned and alone, under her wing.

As they trek the wilds together to find her husband, her violent past chases her at every turn and long-buried memories begin to resurface.

A pitch-black, magnetic, and unforgettable meditation on the nature of love, evil, and the power of redemption, Land of Hope mixes history and the myths of the English moors to tell a compelling modern English fable of serial killers at the end of the world.

'Cate Baum has exceptional talent.' Claire Fuller, author ofUnsettled Ground

'Cate Baum's writing takes you into a mysterious, murderous, sometimes frightening world and never lets go. A journey through many extraordinary emotions with one abiding feeling: hope. An extraordinary book.' Jonathan Myerson, Oscar-nominated writer of The Canterbury Tales and Nuremberg

'This muscular, disquieting twist on survival stories such as The Road asks whether the end of the world is a chance for a new beginning, or whether some acts stain the soul too deeply ever to be left behind.' The Guardian

'Land of Hope folds a dystopian fable into an Emily Bronte-like gothic novel. It's a fascinating idea for a crossover, and the central character, Hope Gleason, seems to emanate from the wild and windswept moors as if she were a ghost already.' Sydney Morning Herald / The Age

She attended UCLA to study Screenwriting, and then City University, London, gaining a Masters with Distinction in Creative Writing. There, she was mentored by Claire Fuller (The Memory of Animals), Clare Allan (Poppy Shakespeare) and Jonathan Myerson (Nuremberg). She now lives in Spain.

Announcing the arrival of a major talent, I HOPE YOU'RE HAPPY is more a warning than a wish.

Photos of women eating go viral, a cookie communicates a threat, and women working dead-end jobs become entangled in the performances around them. Everyday experiences of friendship, family, dating and desire catapult the reader into a creepy vortex of horror. Characters reveal themselves in slippery glimpses, through positive affirmations, social media accounts and secret appetites.

With this collection of haunting and haunted stories, Marni Appleton immerses us in a world of fleeting encounters, empty couplings, break ups, bust ups, threesomes and ghosts, giving us a kaleidoscopic overview of twenty-first century life.

'These beautifully written, female-focused stories stayed with me long past closing the cover. Sensual, alive and haunting. Dark wisps of womanhood.' Lucy Prebble, Executive Producer and writer on the Bafta, Golden Globe and Emmy award-winning HBO drama Succession

'This collection of wry and incisive stories explores navigating the sticky, glorious and more-often-than-not absolutely horrific terrain of late girlhood and early womanhood.' Ayesha Manazir Siddiqi, author of The Centre

'Truthful, dark, and walking the line between delicious and disturbing, I HOPE YOU'RE HAPPY is a rich and haunting read. Savour or gorge, this is a very special collection of deceptively cutting stories.' Lottie Hazell, author of Piglet

'Smart, surprising, and witty, these stories are a joy to read.' Naomi Booth, author of Animals at Night

'These tense stories of the zeitgeist show how the conditions of late capitalism promise women freedom while keeping them trapped in their economic and social circumstances. Clever, convincing and wry, they bowled me over. Like Mary Gaitskill and Miranda July before her, Marni Appleton writes about how it is to live now.' Julia Bell, author of Hymnaland Radical Attention

'Marni Appleton writes with insight, honesty and inventiveness into the raw, brutal spaces of girlhood and early womanhood. A powerful, political collection that maps intimately the minds and bodies of its characters, these stories stayed with me long after I'd finished.' Fran Littlewood, author of Amazing Grace Adams

'Such a wonderful collection, the writing so sharp, witty, dark, carefully observed and full of the realities of present day life.' Gerard Woodward, author ofLegolandandI'll Go to Bed at Noon

'Raw, fluid, intimate and believable.' Mariel Franklin, author of Bonding

'Deliciously dark, incisive and original, Marni Appleton has clearly mastered the short story, but more than that, she has mastered the art of winding her readers in ribbons of mess and mundanity that make up both fantastical and real life in a truly compelling collection.' Ore Agbaje-Williams, author of The Three of Us

'Glittering behind every fixed-on smile in this collection is a crystallised seam of horror. An illegally acquired cocktail of weirdness, body laughs, love and spite. I could not have liked it more.' Ben Pester, author of Am I in the Right Place?

'Tender, skewed and affecting stories told with a keen eye for the absurd and unsettling nature of being alive. A bewitching and twisted kaleidoscope of stories.' Isy Suttie, award-winning comedian and writer

'Appleton knows all the ways that women are seen, surveilled, and regarded. These excellent stories stare right back, and they brim over with insight and sharp intelligence.' Manuel Muoz, author ofThe Consequences

'Marni Appleton's debut collection of short stories is like a shot fired across the bow of contemporary feminism. Prophetic and profound at once, her stories are oblique glimpses of girls' and womens' lives in the age of Instagram, anxiety and heightened scrutiny of women and especially of their bodies. Fresh, surprising and invigorating, Appleton's stories resonate long after finishing them with a restless energy and a humane heart.' Jean McNeil, author ofDay for Night: A Novel

Her writing has been published in literary and academic journals including Banshee, The Tangerine, Contemporary Women's Writing and Comparative American Studies.

Nashquitten, Massachusetts, is a coastal enclave that not even tourist season can revive, full of locals who have run the town's industries for generations. When a young woman dies at a house party, the circumstances around her death suspiciously unclear, the tight-knit community is shaken.

Told through the eyes of ten women, Alina Grabowski's Women and Children First is an exquisite portrait of grief and a powerful reminder of life's interconnectedness. Touching on womanhood, class, sexuality, ambition, disappointment, and tragedy, this novel is a stunning rendering of love and loss, and a bracing lesson from a phenomenal new literary talent.

'A striking debut from a brilliant new voice. Alina Grabowski perfectly inhabits her characters, shining a light on the multidimensionality of both grief and adolescence with great humor and insight.' Sarah Jessica Parker

'Magnetic...The ennui of small-town life is perfectly captured in the slice-of-life vignettes, which coalesce into a riveting set of Rashomon-style retellings. Grabowski shows immense promise.' Publishers Weekly, starred review

'Craftily constructed and deeply moving.' Booklist, starred review

She was a 2019 Emerging Writer Fellow at Aspen Summer Words. She lives in Austin, Texas.

In a London call centre, Jimmie helps holiday makers with myriad problems, but he is hardly a model employee. He doesn't simply provide customer service to his clients and advice to his colleagues, he gets involved in their fantasies and frustrations, and now he's about to be hauled up in front of the boss.

From perfecting his roles as an undertaker and as a clown to performing duties above and beyond his employment contract, he debates the importance of the optimum shade for lipstick and bathroom walls, the pros and cons of nudist versus textile, as well as the psychological impacts of an Italian mother and an emotional support animal. This is the second, ribald, scatological novel from the brilliant author of The Appointment. Jimmie's sly, sharp, melancholy insights into the indignities of a world which aims to eliminate the human will make you laugh, weep and never look the same way at an electric carving knife again.

'This book is filled with brilliant dialogue, unexpected turns, some very dirty talk with sudden bursts of hilarity, and then fierce sadness. It exudes dark energy. It is highly original. It gives pleasure on every page.' Colm Tibn, author of Brooklyn and Long Island

'Raucous, incisive and wholly original.' Eley Williams, author of Moderate to Poor, Occasionally Good

'Her work is a hand grenade thrown against the falsities of good taste.' Carlos Fonseca, author of Austral

'Katharina Volckmer's jokes are always consequential, and her novel ends up saying much that is profound about work and isolation and capitalist estrangement.' Lily Isaacs, The TLS

To escape an overprotective family and an abusive partner, a young lawyer accepts an assignment in the Amazonian border town of Cruzeiro do Sul. There, she meets Carla, a local prosecutor, and Marcos, the son of an indigenous woman, and learns about an epidemic of violence against women that seems beyond comprehension.

What she finds in the jungle is not only relentless oppression, but a deep longing for answers to an unsolved crime from her past. Through the ritual use of ayahuasca, she meets a chorus of warrior women on a path of revenge and recovers the painful details of her mother's death.

The Simple Art of Killing a Woman is a psychological trip with a twist. It's about the strength of individuals in the face of overwhelming violence, the problem of femicide in Brazil, and the haunting of a cold case.

Sophie Lewis is a London-based translator and editor working from Portuguese and French. Her translations have been shortlisted for the Scott Moncrieff and Republic of Consciousness prizes, and longlisted for the International Booker Prize. She was joint winner of the 2022 French-American Foundation prize for non-fiction translation, for her translation of Nastassja Martin's book In the Eye of the Wild.

Four teenagers - Anya, Milka, Petya and Aleksey, whose lives, like those of their Western counterparts, are fuelled by sex, alcohol, and cigarettes yearn for a world of Levi's, Queen, foreign travel and the freedom to choose their fates. Instead, like their ancestors, they encounter heartbreak and tragedy. With a nod to Chekhov's The Cherry Orchard, crumbling dachas surrounded by apple orchards, the scenes of idyllic summers, are slated for destruction as capitalism corrupts and corrodes the best of the past without bringing a promise of renewal.

Yet while depicting a bloody and desperate era, this exceptional debut novel pulsates with life. It is radiant with friendship and love, the power of international literature, values and politics, as its characters struggle to survive, to save their country and one another.

'A timeless tale of memory, desire, dreams lost and altered, love changed and unchanged.' - Yiyun Li, author of Must I Go

'[A] Stunning debut...Gorcheva-Newberry pulls off a tragic and nostalgic love letter to a much-tried generation. This is a winner.' - Publishers Weekly (Starred Review)

'Gorcheva-Newberry does the reader a great service, offering a peek behind the iron curtain and its veil of propoganda...If there is such a thing as clear-eyed sentimentality, Between Dog and Wolf evokes it.' - Bookpage (Starred Review)

Kristina has published fifty stories and received ten Pushcart nominations. She is the winner of the Raz/Shumaker Prairie Schooner Book Prize in Fiction for her debut collection of stories, What Isn't Remembered, shortlisted for the 2022 William Saroyan International Prize. Between Dog and Wolf, published to rapturous reviews in the USA as The Orchard, is her first novel.

Jeanne learns from an early age to dodge her father's abuse, but her mother and sister resign themselves to his brutality. One day when she is eight he attacks her viciously, angered by her self-assurance. Convinced that the village doctor will put an end to their nightmare, she is shocked by his silence.

From then on, Jeanne's hatred of her father and her disgust at the doctor's cowardice drive her on. At boarding school she experiences five years of respite, but is then triggered by an unbearable replica of the violence that started it all. Moving to Lausanne, unable to come to terms with her past and to engage fully with life, she nevertheless finds solace in the arms of lovers and in the waters of Lake Geneva, while further tragedy fuels her rage.

My Favourite is a powerful novel about departure and return, of love, guilt and shame, and the paralysing effects of trauma. Sarah Jollien-Fardel forcefully describes the price to be paid for Jeanne's hard-won emancipation, as history inexorably repeats itself.

'This book is a remarkable debut.' LE MONDE DES LIVRES

'My Favourite is exceptional, moving and fierce, proud of its often elliptical style, reflecting its title.' LIBRATION

'Sarah Jollien-Fardel demonstrates her mastery and composure during the implacable outcome of events and human behaviour.' L'EXPRESS

'A poignant story, narrated with finesse and boldness.' Nataliya Deleva, author of Arrival and Four Minutes

Holly James is a British literary translator based in Paris.

He can, if he is accompanied by a black rooster, his protector and friend. And if he is Martin, orphaned after a massacre, full of wisdom, courage and a pure heart. Too good for the selfish and idiotic villagers around him, his integrity entrances an itinerant painter with whom he departs on a quest. His heroic adventures through a morally abhorrent landscape, physically ravaged by war and famine, keep the reader cheering for him and his companion as this fairy tale for adults unfolds.

Set against a pseudo-medieval post-apocalyptic backdrop reminiscent of Cormac McCarthy, Angela Carter and Missouri Williams, this bestselling novel shines with the inner radiance of good deed in a naughty world that will leave you haunted, horrified, and completely riveted.

'This novel is a danse macabre, a memento mori, a vision of good and evil pared down to the bones. Boy with a Black Rooster beckons the reader into a nightmare landscape of war, famine, plague and madness, and Stefanie vor Schulte's storytelling verve is such that we make the journey gladly.' Sam Thompson, author of Communion Town, Longlisted for the Man Booker Prize 2012

'Wow, what a book! Fabular but true, this meticulously crafted and deceptively simple tale stole my heart, broke it, and put it back together again. Vor Schulte is unflinching in her depiction of the worst of humankind, its cruelty and violence, but she also shows how love and kindness can flourish in even the darkest times. A beautiful, heart-rending book.' Victoria MacKenzie, author of For Thy Great Pain Have Mercy On My Little Pain

'This appears light as a feather, yet elaborately crafted all the same.' Rose-Maria Gropp

'It feels like an old story, one of those that stays with you forever, but every part of it is surprising and wonderful. I want to go straight back and read it all again.' Sin Hughes, author of Pearl

'A debut that is both admirable and truly unique.' Jean-Baptiste Hamelin, Page des Libraires

'Halfway between macabre tale and surrealist epic.' Camille Thomine, Lire magazine litteraire

Alexandra Roesch studied languages and business and worked in banking before becoming a literary translator. In 2018, she was long-listed for the Goethe Institute's Helen & Kurt Wolff Prize. Previously translated authors include Hans Fallada, Seraina Kobler and Merle Krger.

At a dinner party hosted by a wealthy New Yorker, a guest receives an ancient golden weapon as a prize. When the mysterious host of this party dies the next day, his fortune is left to whomever it was that received the prize at the party. The only requirement: the owner must answer three cryptic questions relating to the artifact's mysterious history.

In his search for answers, He quickly finds himself entangled in the centuries-long history of a secretive religious sect, embarking on an odyssey that begins at a dinner party, and ends on the ocean floor. Along this wild goose chase, we encounter a menagerie of eccentric personalities: an ancient revolutionary in a Parisian prison, a ludicrous pair of gibberish-speaking brothers, and customs officials who spend their time reading contraband materials. The Conversions is a wildly unpredictable novel, inviting readers along in the search for answers that may never have existed in the first place.

Ed Park is the author of the novelsPersonalDaysandSame Bed Different Dreams, which was a finalist for the Pulitzer Prize and the winner of the Los Angeles Times Book Prize. He lives in New York.

'Chilean writer Infante's penetrating English-language debut centers on a woman coping with the challenges of new motherhood while reflecting on her late mother. This slim and subtle work packs a stinging punch.' Publishers Weekly

Michelle Mirabellais a Spanish-to-English literary translator. In addition to her translation of Catalina Infante's debut novel, The Cracks We Bear, her work appears in the anthologiesBest Literary Translations(Deep Vellum, 2024) andDaughters of Latin America(HarperCollins, 2023), as well as in venues such asWorld Literature Today,Latin American Literature Today, andSouthwest Review.

Tth is, and has been for several years, a major figure in Hungarian writing and, being a major figure with an important public voice, she has also been, and is now, subject to unrelenting attacks by the government-funded, government-supporting, gutter press. She has been self-exiled in England but is moving to Switzerland shortly. Originally attacked for suggesting that a couple of standard pieces of literature might be removed from the school syllabus and replaced by writing by living women authors, her life has become the subject of the sort of storm of defamation already practised on others perceived to be threatening the values of the government.

Shortlisted for the Warwick Prize for Women in Translation 2025

Her plays includeThe Bat,published in English translation in the compilationPlays from Contemporary Hungary: 'Difficult Women' and Resistant Dramatic Voices(Bloomsbury, 2023). Two collections of her short stories have also been published in English translation,Pixel(Seagull Books, 2019) andBarcode(Jantar Publishing, 2023). Her work was featured in the anthologyNew Order: Hungarian Poets of the Post 1989 Generation(Arc Publications, 2010). The first book of her poetry in English translation,My Secret Life: Selected Poems, translated by George Szirtes, was published by Bloodaxe in February 2025 and is on the shortlist for the Warwick Prize for Women in Translation 2025.

Roughly 1000 to 4000 metres below sea level lies the bathypelagic (also known as the 'midnight') zone. No sunlight penetrates these depths. It's a constant 4 Celsius and water pressure reaches 680 kilograms per square centimetre. The creatures who inhabit this zone are often transparent, moving minimally to conserve energy, as they carry out their bioluminescent lives under the ocean's crushing weight. Bathypelagia is an imaginary space, a miniature sea. It's a viscous metaphor and an internal state. Lying awake at 3 a.m., it's the menagerie of quietly fraught voices you might hear in those small hours. Here, the lines are blurred between lover and predator, nurture and survival, between the intimate and the strange (and estranged). Distances aren't always easy to judge, and migration is more likely to be vertical. But under the cover of darkness, tender moments also find refuge.

These poems were written over a long and discontinuous period, starting about 15 years ago. Back then, I snorkelled and scuba-dived regularly. Some of my most alive experiences have been drifting underwater, without words. Equally, many of them have been when I'm suspended inside a poem.

This is a book of encounters. Some of them have human hands, some fins, yet others, tentacles. Some even beat with three hearts. If you draw a long breath, kick down into the gloom and hold very still, these poems, I hope, will swim a little closer.

'Bathypelagia is a wonder of animacy and transformation. Cannily constructed in three zones, this book criss-crosses between the still-barely known zones of our oceans, resemblances of domestic life particularly of motherhood and the deepest domains of myth and sea creatures. These poems weave together motifs across pages, making connections aquatic, airy, subterranean that astonish.' Kate Middleton

'Bathypelagia is a powerful, memorable collection whose poems fluoresce with an otherworldly light, drawing us in. Debbie Lim's vivid, richly imagistic poems find illumination in the ocean's claustrophobic midnight zone, paying close and artful attention to the creatures inhabiting a region largely untouched by humans.' Sarah Holland-Batt

The poems in Tintinnabulum focus on animals, people, and places, though you could say that the real subject matter is the power of poetry, since the book explores how metaphor, simile, imagery and sound can reveal connections that are imaginative, revelatory and sometimes threatening. Beveridge's creative use of language is most evident in the section of the book titled 'Bizarre Bazaar' - where she plays on lines and titles by Wallace Stevens (a fitting companion), and offers linguistic elaborations on familiar objects, and strange beliefs and customs. Each detail leads to others through association, there is multiplicity everywhere, and movement and energy, and this is as true of the poems which capture the particular features of animals, the transient effects of landscape, or the memories of people and places, as it is of the language-oriented poems.

There is a range of styles, lyrical, dramatic and narrative, which build on the achievements of poems in Beveridge's previous collections. There is also an emotional range to the poems: some poems are joyous, celebratory, ecstatic - others humorous, elegiac, nostalgic - but the overall feeling is of the joy and richness of language.