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A gripping and incisive psychological gameshow drama from one of the biggest stars in Korean fiction, author of million-copy bestseller The Dallergut Dream Department Store.

Eight unsuspecting people receive an invitation to participate in a new reality show called Break Room. But what starts as an opportunity for fame is quickly revealed to be something far more unsettling when they learn how they were chosen--voted in by their respective coworkers as "the office villain."

Among them is an imposter--a mole planted by the show's producers. The only way to win the prize money is to uncover the saboteur before time runs out.

As alliances shift and paranoia festers, the contestants begin to realize that the true challenge isn't surviving the show--it's facing their own selves.

Welcome . . . Step into the world of the reality show, Break Room, where every smile hides suspicion, and every word could be a clue.

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Monsters, magic, and mischief abound once more in the spellbinding sequel to Where There Be Monsters, perfect for fans of The Marvellers and Amari and the Night Brothers.

Glory Brown is finally set to start her training as a junior spherinaut at the Parliamentarium. Will she turn out to be an owl, a bee, a fox, or a magpie, like her mama? She's been waiting a lifetime for this adventure . . . and yet all she wants to do is make her family proud and try not to be homesick for the Seam and all its charm.

As Glory struggles to find her place as the new kid―one with a lot of questions and a soft spot for monsters―she's also coping with the after-effects of Paxton's treachery, like the curse that still plagues her. In fact, the worlds of the Outersphere are all in the process of recovering―and Glory suspects they haven't seen the last of Paxton, either.

When top secret spherinautical charts go missing, parcels are tampered with, and the pocket-orreries go haywire, the Parliamentarium of Junior Spherinauts plunges into chaos. Now, Glory, Marcus, and their new friends must work together to figure out who the thief is and if they have what it takes to save the worlds again.

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A bold, inventive, and fiercely original debut novel that begins with an uncle dead and his tween niece’s private confession to the reader—she and her sister killed him, and they blame the British.

Summer, 1986. The Creel sisters, Georgie Ayyar and Agatha Krishna, welcome their aunt, uncle and young cousin—newly arrived from India—into their house in rural Wyoming where they’ll all live together. Because this is what families do. That is, until the sisters decide that it’s time for their uncle to die.

According to Georgie, the British are to blame. And to understand why, you need to hear her story. She details the violence hiding in their house and history, her once-unshakeable bond with Agatha Krishna, and her understanding of herself as an Indian-American in the heart of the West. Her account is, at every turn, cheeky, unflinching, and infectiously inflected with the trappings of teendom, including the magazine quizzes that help her make sense of her life. At its heart, the tale she weaves is:
a) a vivid portrait of an extended family
b) a moving story of sisterhood
c) a playful ode to the 80s
d) a murder mystery (of sorts)
e) an unexpected and unwaveringly powerful meditation on history and language,
trauma and healing, and the meaning of independence

Or maybe it’s really:

f) all of the above.

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Perfect for fans of Amari and the Night Brothers and The Marvellers, Alby C. Williams' debut middle grade fantasy is a thrilling adventure filled with monsters, mysteries, and mischief.

Twelve-year-old Glory Brown is desperate for adventure far from her family’s quaint, quiet life at The Light Inn. Generations of Browns have been stewards of this humble hotel, which acts as a sanctuary in the stretch of monster-filled land called the Seam. But Glory wants nothing more than to learn how to use her Moxie, a special magic only kids have, and to train to become a spherinaut like her mother, exploring and documenting the perilous depths of the Outersphere.

When a mysterious boy named Marcus appears one day on a top-secret mission for the Parliamentarium―the school for aspiring spherinauts―Glory packs up her beloved books and sets off on a once-in-a-lifetime journey that will shuttle her across time and space . . . and reveal new dangers lurking in the worlds beyond the Seam.

For there’s mischief afoot that’s threatening the balance between the worlds, its magic, and its monsters. And it’s up to Glory to find a way to fix it before it’s too late.

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Night of the Living Queers is a YA horror anthology that explores a night when anything is possible exclusively featuring queer authors of color putting fresh spins on classic horror tropes and tales.

No matter its name or occasion, Halloween is more than a Hallmark holiday, it’s a symbol of transformation. NIGHT OF THE LIVING QUEERS is a YA horror anthology that explores how Halloween can be more than just candies and frights, but a night where anything is possible. Each short story will be told through the lens of a different BIPOC teen and the Halloween night that changes their lives forever. Creative, creepy, and queer, this collection will bring fresh terror, heart, and humor to young adult literature.

Contributors include editors Alex Brown and Shelly Page, Kalynn Bayron, Ryan Douglass, Sara Farizan, Maya Gittelman, Kosoko Jackson, Em Liu, Vanessa Montalban, Ayida Shonibar, Tara Sim, Trang Thanh Tran, and Rebecca Kim Wells.

Secrets. Lies. Consequences.

Three couples. Two exes. One day of reckoning.

Jasper’s brother Edmund has never been exciting, but he is reliable and always there for his little brother, no matter what. It’s only natural that the day after their engagement, Jasper and bride-to-be Holly decide to surprise Edmund with a celebratory visit.

John, Jasper’s fun loving and devoted best friend, comes along. Of course he wouldn’t think of missing such an occasion. Anne joins them, because she’s John’s wife and Jasper is a huge part of her life.

Edmund and Ovidia aren’t expecting visitors, but they can’t exactly say no when Jasper and the others walk into their London mansion one Saturday morning in spring.

Ovidia is not supposed to be there.

Perhaps Edmund is not as reliable as Jasper believed.

Maybe John doesn’t know everything about his best friend.

Today they will all have to face the consequences of the lies they’ve told themselves.

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Original stories of Black family life in Louisville, Kentucky, for readers of Dantiel Moniz (Milk Blood Heat) and Kai Harris (What the Fireflies Knew).

The linked stories in Mama Said are set in Louisville, Kentucky, a city with a rich history steeped in tobacco, bourbon, and gambling, indulgences that can quickly become gripping and destructive vices. Set amid the tail end of the crack epidemic and the rise of the opioid crisis, Mama Said evokes Black family life in all its complexity, following JayLynn, along with her cousins Zaria and Angel, as they come of age struggling against their mothers’ drug addictions.

JayLynn heads to college intent on gaining distance from her depressed mother, only to learn that her mother’s illness has reached a terrifying peak. She fears the chaos and instability of her extended family will prove too much for her boyfriend, whose idyllic family feels worlds, not miles, apart from her own. When bats invade Zaria’s new home, she is forced to determine how much she is willing to sacrifice to be a good mother. Angel rebels on Derby night, risking her safety to connect with her absent mother and the wild ways that consumed her.

Mama Said separates from stereotypes of Black families, presenting instead the joy, humor, and love that coexist with the trauma of drug abuse within communities. Kristen Gentry’s stories showcase the wide-reaching repercussions of addiction and the ties that forever bind daughters to their mothers, flaws and all.

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Long-listed for the Booker Prize

A radiant, intimate novel of the longing that blooms between two boys over the course of one summer―about family, desire, and what we inherit.

When his grandfather dies, Jay travels south with his family to the property they’ve inherited, a once-flourishing farm that has fallen into disrepair. The trees are diseased, the fields parched from months of drought.

Jay’s father, Jack, sends him out to work the land, or whatever land is left. Over the course of these hot, dense days, Jay finds himself drawn to Chuan, the son of the farm’s manager, different from him in every way except for one.

Out in the fields, and on the streets into town, the charge between the boys intensifies. Inside the house, the other family members begin to confront their own secrets and regrets. Jack is a professor at a struggling local college whose failures might have begun when he married his student, Sui Ching. Sui Ching does her best to keep the family together, though she too wonders what her life could have been. And Fong, the manager, refuses to look at what is: at Chuan, at the land, at the global forces that threaten to render his whole life obsolete.

At once sweeping and compressed, Tash Aw’s The South is a family novel of change and desire―a story of what happens when public and private lives collide, told with uncommon grace and beauty.

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Challenges narrow perceptions of Blackness as both an identity and lived reality to understand the diversity of what it means to be Black in the US and around the world

What exactly is Blackness and what does it mean to be Black?
Is Blackness a matter of biology or consciousness?
Who determines who is Black and who is not?
Who’s Black, who’s not, and who cares?

In the United States, a Black person has come to be defined as any person with any known Black ancestry. Statutorily referred to as “the rule of hypodescent,” this definition of Blackness is more popularly known as the “one-drop rule,” meaning that a person with any trace of Black ancestry, however small or (in)visible, cannot be considered White. A method of social order that began almost immediately after the arrival of enslaved Africans in America, by 1910 it was the law in almost all southern states. At a time when the one-drop rule functioned to protect and preserve White racial purity, Blackness was both a matter of biology and the law. One was either Black or White. Period. Has the social and political landscape changed one hundred years later?

One Drop explores the extent to which historical definitions of race continue to shape contemporary racial identities and lived experiences of racial difference. Featuring the perspectives of 60 contributors representing 25 countries and combining candid narratives with striking portraiture, this book provides living testimony to the diversity of Blackness. Although contributors use varying terms to self-identify, they all see themselves as part of the larger racial, cultural, and social group generally referred to as Black. They have all had their identity called into question simply because they do not fit neatly into the stereotypical “Black box”—dark skin, “kinky” hair, broad nose, full lips, etc. Most have been asked “What are you?” or the more politically correct “Where are you from?” throughout their lives. It is through contributors’ lived experiences with and lived imaginings of Black identity that we can visualize multiple possibilities for Blackness.

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A magical girl-gone-bad and a renegade mech pilot must stay on a date forever, even if it means destroying the world. Don't you want to help them?

A Ms. Magazine Most Anticipated Feminist Book of 2026 • A them Most Anticipated LGBTQ+ Book of 2026

"Delicious, insane, intoxicating." —Maya Deane, author of Wrath Goddess Sing

"This Is How You Lose the Time War but on crack." —Jace Molloy

Acrasia is in the ultimate long-distance relationship: with Opus Zhao, a man from another universe. She was a trans girl who was also an intergalactic moth-goddess. He was a trans guy who piloted a giant robotic tiger. They hated each other, then fell in love, then their universes moved apart. Now, years later, he's turned up in her dimension again. What won’t she do to keep him there? 

Combining Sailor Moon, Sex and the City, and House of Leaves, this riotous enemies-to-lovers romantasy roars off the page in the genre-exploding, galaxy-spanning, quick-quipping retro nostalgia futuristic thrill ride of a lifetime. Give in, succumb (you know you want to) to the unstoppable world of Plastic, Prism, Void.

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Earl Tubb is an angry old man with a very big stick. Euless Boss is a high school football coach with no more room in his office for trophies and no more room underneath the bleachers for burying bodies. And they're just two of the folks you'll meet in Castor County, Alabama, home of Boss BBQ, the state champion Runnin' Rebs and more bastards than you've ever seen!

“What does old Earl Tubb do when he returns home to Craw County, Ala., only to find the place a veritable criminal fiefdom run by Euless Boss, the local high school football coach? Why, pick up the stick helpfully cleaved by lightning from a tree growing out of his daddy's grave and start meting out justice just like his father, the old sheriff, did. In the cleaning-up-the-dirty-old-town Southern-fried pulper, writer Aaron (Scalped) and artist Jason Latour (Django Unchained) spread around no more story than is absolutely necessary, and most of it involves people being at the wrong end of a stick, baseball bat, or even (in an early fight scene) a deep-fryer basket. Both Jasons hail from the South, as they discuss in a particularly bighearted introduction, and so likely feel unencumbered by concerns about overdosing on clichés. Thus, the high-impact pages are strewn with bruising high school football, sweet tea, barbecue, trucker caps, and snarling rednecks. The story, in which Tubb clobbers his way through throngs of underlings to get at Boss, is no more complicated than a redo of Walking Tall. But there's a thread of something deeper, bloodier, and more resonant that often transcends the usual psychotic-redneck shtick, aided in no small part by Latour's spare, elegant art.” - Publishers Weekly

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In his debut collection Fantasia for the Man in Blue, Tommye Blount orchestrates a chorus of distinct, unforgettable voices that speak to the experience of the black, queer body as a site of desire and violence. A black man’s late-night encounter with a police officer—the titular “man in blue”—becomes an extended meditation on a dangerous erotic fantasy. The late Luther Vandross, resurrected here in a suite of poems, addresses the contradiction between his public persona and a life spent largely in the closet: “It’s a calling, this hunger / to sing for a love I’m too ashamed to want for myself.” In “Aaron McKinney Cleans His Magnum,” the convicted killer imagines the barrel of the gun he used to bludgeon Matthew Shepard as an “infant’s small mouth” as well as the “sad calculator” that was “built to subtract from and divide a town.” In these and other poems, Blount viscerally captures the experience of the “other” and locates us squarely within these personae.