No one could have anticipated the small but devoted following this terrifying story would soon command. Starting with an odd assortment of marginalized youth—musicians, tattoo artists, programmers, strippers, environmentalists, and adrenaline junkies—the book eventually made its way into the hands of older generations, who not only found themselves in those strangely arranged pages but also discovered a way back into the lives of their estranged children.Now, for the first time, this astonishing novel is made available in book form, complete with the original colored words, vertical footnotes, and newly added second and third appendices.The story remains unchanged, focusing on a young family that moves into a small home on Ash Tree Lane where they discover something is terribly wrong: their house is bigger on the inside than it is on the outside.Of course, neither Pulitzer Prize-winning photojournalist Will Navidson nor his companion Karen Green was prepared to face the consequences of that impossibility, until the day their two little children wandered off and their voices eerily began to return another story—of creature darkness, of an ever-growing abyss behind a closet door, and of that unholy growl which soon enough would tear through their walls and consume all their dreams.

    Set at the time of the Spanish Inquisition in the fifteenth century, Rose of Fire tells the story of the origins of the mysterious labyrinthine library, the Cemetery of Forgotten Books, which lies at the heart of Carlos Ruiz Zafón’s novels The Shadow of the Wind, The Angel’s Game, and now The Prisoner of Heaven.

    The cold slows everything down. Bodies are red and raw, the fish turn venomous, beyond the beach guns point out from the North’s watchtowers. A young French Korean woman works as a receptionist in a tired guesthouse. One evening, an unexpected guest arrives: a French cartoonist determined to find inspiration in this desolate landscape.The two form an uneasy relationship. When she agrees to accompany him on trips to discover an ‘authentic’ Korea, they visit snowy mountaintops and dramatic waterfalls, and cross into North Korea. But he takes no interest in the Sokcho she knows – the gaudy neon lights, the scars of war, the fish market where her mother works. As she’s pulled into his vision and taken in by his drawings, she strikes upon a way to finally be seen.An exquisitely-crafted debut, which won the Prix Robert Walser, Winter in Sokcho is a novel about shared identities and divided selves, vision and blindness, intimacy and alienation. Elisa Shua Duspain’s voice is distinctive and unmistakable.

    Their father, a Ted Hughes scholar and scruffy romantic, imagines a future of well-meaning visitors and emptiness.In this moment of despair they are visited by Crow - antagonist, trickster, healer, babysitter. This self-described sentimental bird is attracted to the grieving family and threatens to stay until they no longer need him. As weeks turn to months and physical pain of loss gives way to memories, this little unit of three begin to heal.In this extraordinary debut - part novella, part polyphonic fable, part essay on grief, Max Porter's compassion and bravura style combine to dazzling effect. Full of unexpected humour and profound emotional truth, Grief is the Thing with Feathers marks the arrival of a thrilling new talent.

    The woman at the center wavers between stasis and movement, between the need to belong and the refusal to form lasting ties. The city she calls home, an engaging backdrop to her days, acts as a confidant: the sidewalks around her house, parks, bridges, piazzas, streets, stores, coffee bars. We follow her to the pool she frequents and to the train station that sometimes leads her to her mother, mired in a desperate solitude after her father's untimely death. In addition to colleagues at work, where she never quite feels at ease, she has girl friends, guy friends, and "him," a shadow who both consoles and unsettles her. But in the arc of a year, as one season gives way to the next, transformation awaits. One day at the sea, both overwhelmed and replenished by the sun's vital heat, her perspective will change. This is the first novel she has written in Italian and translated into English. It brims with the impulse to cross barriers. By grafting herself onto a new literary language, Lahiri has pushed herself to a new level of artistic achievement.

    Opening the flaps on this unique little book, readers will find themselves immersed in the strange world of best-selling Haruki Murakami's wild imagination.The story of a lonely boy, a mysterious girl, and a tormented sheep man plotting their escape from a nightmarish library, the book is like nothing else Murakami has written. Designed by Chip Kidd and fully illustrated in full color throughout, this small format, 96-page volume is a treat for book lovers of all ages.

    I am eighteen years old, and I live with my sister Constance. I have often thought that with any luck at all I could have been born a werewolf, because the two middle fingers on both my hands are the same length, but I have had to be content with what I had. I dislike washing myself, and dogs, and noise, I like my sister Constance, and Richard Plantagenet, and Amanita phalloides, the death-cap mushroom. Everyone else in my family is dead...

    They never dreamed they would find Louise: a quiet, polite, devoted woman who sings to the children, cleans the family's chic apartment in Paris's upscale tenth arrondissement, stays late without complaint, and hosts enviable kiddie parties. But as the couple and the nanny become more dependent on one another, jealousy, resentment, and suspicions mount, shattering the idyllic tableau.

    and I asked God if he please couldn't take my brother Matthies instead of my rabbit. 'Amen.' Jas lives with her devout farming family in the rural Netherlands. One winter's day, her older brother joins an ice skating trip; resentful at being left alone, she makes a perverse plea to God; he never returns. As grief overwhelms the farm, Jas succumbs to a vortex of increasingly disturbing fantasies, watching her family disintegrate into a darkness that threatens to derail them all.A bestselling sensation in the Netherlands by a prize-winning young poet, Marieke Lucas Rijneveld's debut novel lays everything bare. It is a world of language unlike any other, which Michele Hutchison's striking translation captures in all its wild, violent beauty. Studded with unforgettable images - visceral, raw, surreal - The Discomfort of the Evening is a radical reading experience that will leave you changed forever.

    Whoever settles, never leaves. Welcome to Black Spring, the seemingly picturesque Hudson Valley town haunted by the Black Rock Witch, a seventeenth century woman whose eyes and mouth are sewn shut. Muzzled, she walks the streets and enters homes at will. She stands next to children's bed for nights on end. Everybody knows that her eyes may never be opened or the consequences will be too terrible to bear. The elders of Black Spring have virtually quarantined the town by using high-tech surveillance to prevent their curse from spreading. Frustrated with being kept in lockdown, the town's teenagers decide to break their strict regulations and go viral with the haunting. But, in so doing, they send the town spiraling into dark, medieval practices of the distant past. This chilling novel heralds the arrival of an exciting new voice in mainstream horror and dark fantasy.

    Not after midnight, not through Rocky Point Park. Not the way she was dressed in a tank top, denim cutoffs, and high-heeled sandals. Not with her twelve-year-old daughter Bethie. Not with packs of local guys running loose on hormones, rage, and alcohol. A victim of gang rape, left for dead in the park boathouse, the once vivacious Teena can now only regret that she has survived. At a relentlessly compelling pace punctuated by lonely cries in the night and the whisper of terror in the afternoon, Joyce Carol Oates unfolds the story of Teena and Bethie, their assailants, and their unexpected, silent champion, a man who knows the meaning of justice. And love.

    It is here that Kazu’s life in Tokyo began, as a labourer in the run up to the 1964 Olympics, and later where he ended his days, living in the park’s vast homeless ‘villages’, traumatised by the destruction of the 2011 tsunami and enraged by the announcement of the 2020 Olympics.Akutagawa-award-winning author Yū Miri uses her outsider’s perspective as a Zainichi (Korean-Japanese) writer to craft a novel of utmost importance to this moment, a powerful rebuke to the Imperial system and a sensitive, deeply felt depiction of the lives of Japan’s most vulnerable people.

    A couple in their thirties live in a small rented cottage in a quiet part of Tokyo; they work at home, freelance copy-editing; they no longer have very much to say to one another. But one day a cat invites itself into their small kitchen. It leaves, but the next day comes again, and then again and again. Soon they are buying treats for the cat and enjoying talks about the animal and all its little ways. Life suddenly seems to have more promise for the husband and wife — the days have more light and color. The novel brims with new small joys and many moments of staggering poetic beauty, but then something happens….As Kenzaburo Oe has remarked, Takashi Hiraide’s work "really shines." His poetry, which is remarkably cross-hatched with beauty, has been acclaimed here for "its seemingly endless string of shape-shifting objects and experiences,whose splintering effect is enacted via a unique combination of speed and minutiae."

    I have no interest in one person killing another. I only want to draw out morbid desires, imprisoned deep in the unconscious. This lust, once freed, starts growing. Their imaginations run free, and they soon discover their potential... They are waiting for someone like me.A spectral, nameless narrator haunts the lost and wounded of big-city Seoul, suggesting solace in suicide. Wandering through the bright lights of their high-urban existence, C and K are brothers who fall in love with the same woman - Se-yeon. As their lives intersect, they tear at each other in a struggle to find connection in their fast-paced, atomized world.Dreamlike and cinematic, I Have the Right to Destroy Myself brilliantly affirms Young-ha Kim as Korea's leading young literary master.

    He believes he is dying and in his feverish delirium various characters, both real and imaginary, appear to him as icy monsters.