Mina loves the night. While everyone else is in a deep slumber, she gazes out the window, witness to the moon's silvery light. In the stillness, she can even hear her own heart beating. This is when Mina feels that anything is possible and her imagination is set free.

A blank notebook lies on the table. It has been there for what seems like forever. Mina has proclaimed in the past that she will use it as a journal, and one night, at last, she begins to do just that. As she writes, Mina makes discoveries both trivial and profound about herself and her world, her thoughts and her dreams.

Award-winning author David Almond reintroduces readers to the perceptive, sensitive Mina before the events of in this lyrical and fantastical work. is not only a pleasure to read, it is an intimate and enlightening look at a character whose open mind and heart have much to teach us about life, love, and the mysteries that surround us.

Reminiscent of Aimee Bender and Karen Russell—an enthralling new collection that uses the world of the imagination to explore the heart of the human condition.

Major new literary talent Ramona Ausubel combines the otherworldly wisdom of her much-loved debut novel, , with the precision of the short-story form. is organized around the stages of life—love, conception, gestation, birth—and the transformations that happen as people experience deeply altering life events, falling in love, becoming parents, looking toward the end of life. In each of these eleven stories Ausubel’s stunning imagination and humor are moving, entertaining, and provocative, leading readers to see the familiar world in a new way.

In “Atria” a pregnant teenager believes she will give birth to any number of strange animals rather than a human baby; in “Catch and Release” a girl discovers the ghost of a Civil War hero living in the woods behind her house; and in “Tributaries” people grow a new arm each time they fall in love. Funny, surprising, and delightfully strange—all the stories have a strong emotional core; Ausubel’s primary concern is always love, in all its manifestations.

In this epic, mythical debut novel, a newly-wed couple escapes the busy confusion of their homeland for a distant and almost-uninhabited lakeshore. They plan to live there simply, to fish the lake, to trap the nearby woods, and build a house upon the dirt between where they can raise a family. But as their every pregnancy fails, the child-obsessed husband begins to rage at this new world: the song-spun objects somehow created by his wife’s beautiful singing voice, the giant and sentient bear that rules the beasts of the woods, the second moon weighing down the fabric of their starless sky, and the labyrinth of memory dug into the earth beneath their house.

This novel, from one of our most exciting young writers, is a powerful exploration of the limits of parenthood and marriage—and of what happens when a marriage’s success is measured solely by the children it produces, or else the sorrow that marks their absence.

Within the thirteen stories of Whitney Collins’s Big Bad dwells a hunger that’s dark, deep, and hilarious. Part domestic horror, part flyover gothic, Big Bad serves up real-world predicaments in unremarkable places (motels, dormitories, tiki bars), all with Collins’s heart-wrenching flavor of magical realism. A young woman must give birth to future iterations of herself; a widower kills a horse en route to his grandson’s circumcision; a conflicted summer camper is haunted by a glass eye and motorcycle crash. Collins’s cast of characters must repeatedly choose to fight or flee the “big bad” that dwells within us all. Winner of the Mary McCarthy Prize in Short Fiction, and boasting a 2020 Pushcart-winning story, Big Bad simultaneously entertains and disconcerts.

One Sunday in the spring of 1988, a woman living on a reservation in North Dakota is attacked. The details of the crime are slow to surface as Geraldine Coutts is traumatized and reluctant to relive or reveal what happened, either to the police or to her husband, Bazil, and thirteen-year-old son, Joe. In one day, Joe's life is irrevocably transformed. He tries to heal his mother, but she will not leave her bed and slips into an abyss of solitude. Increasingly alone, Joe finds himself thrust prematurely into an adult world for which he is ill prepared.

While his father, who is a tribal judge, endeavors to wrest justice from a situation that defies his efforts, Joe becomes frustrated with the official investigation and sets out with his trusted friends, Cappy, Zack, and Angus, to get some answers of his own. Their quest takes them first to the Round House, a sacred space and place of worship for the Ojibwe. And this is only the beginning.

“As long as I continue to draw breath, my task is to put down that steel beast, Red Vengeance. If I must give chase to as far as the arctic reaches of the Finnish Gulf or across the blazing steppes to the Sea of Azov, I will hunt it down. I will remain on this side of the Dniepr until its severed hydraulics bleed and black diesel fuel gushes from its mauled, smoking hull. This is what I have sworn! Are you with me, grenadiers?”

With these words Captain Hans Falkenstein implores his small vulnerable unit of panzergrenadiers to swear an oath of retribution before embarking on a hellish personal mission of reckoning. As Army Group South retreats toward the safety of the west bank of the Dniepr River, putting everything in its path to the torch, the crushing weight of the Soviet Red Army snaps at its heels. And yet Falkenstein is determined to stay behind in an effort to destroy a mythic Soviet T-34 tank known to war weary German troops as Red Vengeance. As the Wehrmacht suffers defeat after imminent defeat, Red Vengeance is observed, lurking on the horizon like a predator ready to ambush and devour all those who cross its path. Falkenstein’s mission is personal since Red Vengeance had annihilated his reconnaissance unit on the Kalmyk steppe over a year previously. Emerging from that hideous attack wounded, and quite possibly deranged, Falkenstein seeks revenge for the unwholesome, almost joyous slaughter of his men. He believes that Red Vengeance is no mere machine but a construct of evil operating under the control of an occult force.

With the aid of his trusted bodyguard, Khan, an alleged shaman from eastern Siberia, Falkenstein endeavors to employ the shaman’s magic as well as the weapons from his meager arsenal in order to destroy Red Vengeance and put an end to the myth of its invincibility.

Although I have attempted to be as accurate as possible concerning the historical setting of the novel (i.e.) the retreat to the Dniepr and the scorched earth policy enacted by the Wehrmacht, I wouldn’t characterize the novel as strictly historical fiction. I began in 1997 without a clear intention of writing a full blown novel and especially a book that was over 400 pages in length. I had a few ideas in my head that I wanted to get down on paper and wanted to discover where it would lead. I did a lot of research on the topic and the more I did the more I got hooked. World War 2, and especially the manner in which the war was played out in Russia, was apocalyptic in scope. Researching the material would be at times both emotionally and psychologically daunting. The novel is certainly not an ‘entertainment’ nor do I consider it an adventure; although, for the sake of expediency, it’s tagged as such. I’m reminded of something the French author, poet, and aviator Antoine de Saint-Exupéry had written, “War isn’t an adventure… it’s a disease.”

September 1943. The Wehrmacht has instituted a policy of scorched earth in the southern Ukraine as it retreats to the Dnieper River. Entire armies, civilians, even animals are herded west to escape the onslaught of the Soviet Red Army. All but one man, Captain Hans Falkenstein, or “Mad Falkenstein” as he has come to be known, is determined to remain on the barren burning steppe in an effort to complete his singular mission. While the countryside erupts into flames Falkenstein and a ragtag group of panzergrenadiers, assembled from the whirlwind of a losing war, are pressed into service to help the Captain complete his cycle of revenge. Their orders are to hunt down and destroy the T-34 Soviet tank known as . A front line myth, is known as an unstoppable beast by the war weary German troops. Its appearance signifies doom for men, machines, and entire armies. Stalingrad, the winter offensives, Kursk, and now this retreat to form a coherent line of defense along the opposite bank of the Dniepr, appears yet again. For Falkenstein, is personal. It destroyed his entire patrol and he emerged from the wreckage of that first encounter terribly maimed… in body and mind. He is of the firm conviction that this T-34 is no mere machine but an embodiment of satanic evil. As Falkenstein leads his small vulnerable unit headlong into the abyss, awaits like a predator, with a gaping, bloody maw.

Amanda Leduc’s brilliant, genre-bending and apocalyptic novel, woven with fairy tales of her own devising and replete with both catastrophe and magic, is a vision of what happens when we ignore the natural world and the darker parts of our own natures. Heather is sleeping peacefully after the birth of her twin daughters when the sound of the world ending jolts her awake. Stumbling outside with her babies and her new husband, Brendan, she finds that their city has been destroyed by falling meteors and that her little family are among only a few who survived. But the mountain that looms over the city is still green—somehow it has been spared the destruction that has brought humanity to the brink of extinction. Heather is one of the few who know the mountain, a place city-dwellers have always been forbidden to go. Her dad took her up the mountain when she was a child on a misguided quest to heal her legs, damaged at birth. The tragedy that resulted has shaped her life, bringing her both great sorrow and an undying connection to the deep magic of the mountain, made real by the beings she and her dad encountered that day: Estajfan, a centaur born of sorrow and of an ancient, impossible love, and his two siblings, marooned between the magical and the human world. Even as those in the city around her—led by Tasha, a charismatic doctor who fled to the city from the coast with her wife and other refugees—struggle to keep everyone alive, Heather constantly looks to the mountain, drawn by love, by fear, by the desire for rescue. She is torn in two by her awareness of what unleashed the meteor shower and what is coming for the few survivors, once the green and living earth makes a final reckoning of the usefulness of human life and finds it wanting. At times devastating, but ultimately redemptive, Amanda Leduc’s fable for our uncertain times reminds us that the most important things in life aren’t things at all, but rather the people we want by our side at the end of the world.

In these stories seers and vagabonds, addicts, and gardeners succeed and sometimes fail at creating new kinds of community against apocalyptic backdrops. They build gardens in the ruins, transport seeds and songs from one world to another and from dreams to waking life. Where do you plant a seed someone gave you in a dream? How do you build a world more free of trauma when it’s all you’ve ever known? Sometimes the seed you wake up holding in your hand is the seed of a new world.

The Gray House is an astounding tale of how what others understand as liabilities can be leveraged into strengths. Bound to wheelchairs and dependent on prosthetic limbs, the physically disabled students living in the House are overlooked by the Outsides. Not that it matters to anyone living in the House, a hulking old structure that its residents know is alive. From the corridors and crawl spaces to the classrooms and dorms, the House is full of tribes, tinctures, scared teachers, and laws — all seen and understood through a prismatic array of teenagers' eyes. But student deaths and mounting pressure from the Outsides put the time-defying order of the House in danger. As the tribe leaders struggle to maintain power, they defer to the awesome power of the House, attempting to make it through days and nights that pass in ways that clocks and watches cannot record.

A stunning new ebook original story by J. M. Sidorova

Includes an exclusive excerpt of Sidorova’s acclaimed debut novel, . Speculative fiction icon John Crowley calls J. M. Sidorova’s “marvelous.” Karen Joy Fowler, author of , hails it as “everything you could want in a novel.” Now, in this special ebook-only story, Sidorova returns to the world of her captivating blend of fiction, history, and fantasy—offering a mesmerizing new tale of the power of cold.

In April 1814, just days after Napoléon’s defeat by the coalition of the European powers, Prince Alexander Velitzyn, the hero of , is drifting around Paris, coming to grips with the brutality of the war and his role in it. Unbeknownst to him, Alexander strolls through the same passageways as another human being just like him.

Hidden behind costume and makeup, twenty-two-year-old Cherie performs a daily show in the Palais-Royal, a noble palace where shopkeepers and showgirls have set up all manner of risqué commerce—boutiques, gambling rooms, and pubs designed to satiate every desire of the senses. Cherie, though, is an unusual act. Her feat relies on physics, not trickery.

She is a young woman making do with the fate she’s been dealt—not just the terror of revolution, but her own, crippling coldness. Then, one evening, a wounded young soldier named Julien comes to her room, and what happens threatens to upend Cherie’s notion of the world and herself.

A couple is concerned when their dog behaves increasingly bizarrely: first to their chagrin, and, eventually, to their alarm. Jonathan Carroll (b. 1949) is an award-winning American author of modern fantasy and slipstream novels. His debut book, The Land of Laughs (1980), tells the story of a children’s author whose imagination has left the printed page and begun to influence reality. The book introduced several hallmarks of Carroll’s writing, including talking animals and worlds that straddle the thin line between reality and the surreal, a technique that has seen him compared to South American magical realists. Outside the Dog Museum (1991) was named the best novel of the year by the British Fantasy Society, and has proven to be one of Carroll’s most popular works. Since then he has written the Crane’s View trilogy, Glass Soup (2005) and, most recently, The Ghost in Love (2008). His short stories have been collected in The Panic Hand (1995) and The Woman Who Married a Cloud (2012). He continues to live and write in Vienna.

The Gray House is an astounding tale of how what others understand as liabilities can be leveraged into strengths. Bound to wheelchairs and dependent on prosthetic limbs, the physically disabled students living in the House are overlooked by the Outsides. Not that it matters to anyone living in the House, a hulking old structure that its residents know is alive. From the corridors and crawl spaces to the classrooms and dorms, the House is full of tribes, tinctures, scared teachers, and laws — all seen and understood through a prismatic array of teenagers' eyes. But student deaths and mounting pressure from the Outsides put the time-defying order of the House in danger. As the tribe leaders struggle to maintain power, they defer to the awesome power of the House, attempting to make it through days and nights that pass in ways that clocks and watches cannot record.

Сказочный Иванушка находит свою царицу. Или королеву. Или фею. В общем, ту единственную, ради которой и стоит жить. И какая разница, кто она — обыкновенная женщина или волшебница?.. Но разница, конечно, есть. И попав в необычную страну Иллирию, российский математик из МГУ постигает мир и его законы словно заново. Правда, и жители волшебной страны тоже открывают его с помощью Ивана второй раз…

Эти открытия далеко не безболезненны и часто очень опасны.

Kevin Wilson’s best book yet—a moving and uproarious novel about a woman who finds meaning in her life when she begins caring for two children with remarkable and disturbing abilities Lillian and Madison were unlikely roommates and yet inseparable friends at their elite boarding school. But then Lillian had to leave the school unexpectedly in the wake of a scandal and they’ve barely spoken since. Until now, when Lillian gets a letter from Madison pleading for her help. Madison’s twin stepkids are moving in with her family and she wants Lillian to be their caretaker. However, there’s a catch: the twins spontaneously combust when they get agitated, flames igniting from their skin in a startling but beautiful way. Lillian is convinced Madison is pulling her leg, but it’s the truth. Thinking of her dead-end life at home, the life that has consistently disappointed her, Lillian figures she has nothing to lose. Over the course of one humid, demanding summer, Lillian and the twins learn to trust each other—and stay cool—while also staying out of the way of Madison’s buttoned-up politician husband. Surprised by her own ingenuity yet unused to the intense feelings of protectiveness she feels for them, Lillian ultimately begins to accept that she needs these strange children as much as they need her—urgently and fiercely. Couldn’t this be the start of the amazing life she’d always hoped for? With white-hot wit and a big, tender heart, Kevin Wilson has written his best book yet—a most unusual story of parental love.

Lucius Shepard writes from the darkest, truest heart of America—not the heart of the United States or of North America, but all of America—and he writes of it with rare passion, honesty and intelligence. His earliest stories, the ones that made his name a quarter of a century ago were set in the jungles of South America and filled with creatures dark and fantastical. Stories like “Salvador”, “The Jaguar Hunter”, and the excoriatingly brilliant “R&R” deconstructed war and peace in South America, in both the past and the future, like no other writer of the fantastic. A writer of great talent and equally great scope, Shepard has also written of the seamier side of the United States at home in classic stories like “Life of Buddha” and “Dead Money”, and in “Only Partly Here” has written one of the finest post-9/11 stories yet. Perhaps strangest of all, Shepard created one of the greatest sequence of “dragon” stories we’ve seen in the tales featuring the enormous dragon, Griaule. The Best of Lucius Shepard is the first ever career retrospective collection from one of the finest writers of the fantastic to emerge in the United States over the past quarter century. It contains nearly 300,000 words of his best short fiction and is destined to be recognized as a true classic of the field.