Orphaned as teenagers, they have grown up under the exasperated watch of their Sikh uncle, who runs a bagel shop in Montreal's Hasidic community of Mile End. Together, they try to make sense of the rich, confusing brew of values, rituals, and beliefs that form their inheritance. Yet as they grow towards adulthood, their paths begin to diverge. Beena catches the attention of one of the "bagel boys" and finds herself pregnant at sixteen, while Sadhana drives herself to perfectionism and anorexia.When we first meet the adult Beena, she is grappling with a fresh grief: Sadhana has died suddenly and strangely, her body lying undiscovered for a week before anyone realizes what has happened. Beena is left with a burden of guilt and an unsettled feeling about the circumstances of her sister's death, which she sets about to uncover. Her search stirs memories and opens wounds, threatening to undo the safe, orderly existence she has painstakingly created for herself and her son.Heralded across Canada for the power and promise of her debut collection, Mother Superior, Nawaz proves with Bone and Bread that she is one of our most talented and unique storytellers.

    Bender's prose is glorious, musical, and colloquial, an anthology of the bizarre. In 'The Rememberer', a man undergoes reverse evolution -- from man to ape to salamander -- at which point a friend releases him into the sea, while in another story a woman gives birth to her mother. A grief-stricken librarian decides to have sex with every man who enters her library. A half-mad, unbearably beautiful heiress follows a strange man home, seeking total sexual abandon: He only wants to watch game shows. A woman falls in love with a hunchback; when his deformity turns out to be a prosthesis, she leaves him. A wife whose husband has just returned from the war struggles with the heartrending question: Can she still love a man who has no lips?Contents:The rememberer --Call my name --What you left in the ditch --The bowl --Marzipan --Quiet please --Skinless --Fugue --Drunken Mimi --Fell this girl --The healer --Loser --Legacy --Dreaming in Polish --The ring --The girl in the flamable skirt.

    At the stroke of midnight she will turn nineteen, and the year ahead promises to be one of consequence. Should she go to London to study economics, or remain at home in Brooklyn to pursue her passion for music and be with her boyfriend? As the countdown to the New Year begins, Oona faints and awakens thirty-two years in the future in her fifty-one-year-old body. Greeted by a friendly stranger in a beautiful house she’s told is her own, Oona learns that with each passing year she will leap to another age at random. And so begins Oona Out of Order...Hopping through decades, pop culture fads, and much-needed stock tips, Oona is still a young woman on the inside but ever changing on the outside. Who will she be next year? Philanthropist? Club Kid? World traveler? Wife to a man she’s never met? Surprising, magical, and heart-wrenching, Margarita Montimore has crafted an unforgettable story about the burdens of time, the endurance of love, and the power of family.

    One of the few in her community to forego bio-engineered enhancements, she’s the last truly organic person left on the rig. But she’s an expert in the arts of self-defence, and she’s been charged with training the Family’s youngest, who has been receiving death threats – seemingly from another timeline. Meanwhile, a series of interconnected murders threatens the city’s stability – serial killer? Or something much, much worse...?

    When their father dies and the children set out to bury him, they encounter the inhabitants of the neighboring village, and the pair's cloak of romance and superstition falls away to reveal the appalling truth of their existence. A brilliant, masterful story in which nothing is as it first seems, "The Little Girl Who Was Too Fond of Matches" is a triumph of suspense, linguistic invention, and playfulness that peers into the heart of guilt, cruelty, and violence.

    In This Is Pleasure, she considers our present moment through the lens of a particular #MeToo incident. The effervescent, well-dressed Quin, a successful book editor and fixture on the New York arts scene, has been accused of repeated unforgivable transgressions toward women in his orbit. But are they unforgivable? And who has the right to forgive him? To Quin’s friend Margot, the wrongdoing is less clear. Alternating Quin’s and Margot’s voices and perspectives, Gaitskill creates a nuanced tragicomedy, one that reveals her characters as whole persons—hurtful and hurting, infuriating and touching, and always deeply recognizable. Gaitskill has said that fiction is the only way that she could approach this subject because it is too emotionally faceted to treat in the more rational essay form. Her compliment to her characters—and to her readers—is that they are unvarnished and real. Her belief in our ability to understand them, even when we don’t always admire them, is a gesture of humanity from one of our greatest contemporary writers.

    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.

    They're even about to have their first child. Yes, Charlie's doing okay—until people start dropping dead around him, and everywhere he goes a dark presence whispers to him from under the streets. Charlie Asher, it seems, has been recruited for a new position: as Death.It's a dirty job. But, hey! Somebody's got to do it.

    Rosenberger Rosenberg, neurotic and underappreciated film critic (failed academic, film-maker, paramour, shoe salesman who sleeps in a sock drawer), stumbles upon a hitherto unseen film made by an enigmatic outsider—a film he's convinced will change his career trajectory and rock the world of cinema to its core. His hands on what is possibly the greatest movie ever made—a three-month-long stop-motion masterpiece that took its reclusive auteur ninety years to complete—B. knows that it is his mission to show it to the rest of humanity. The only problem: The film is destroyed, leaving him the sole witness to its inadvertently ephemeral genius.All that's left of this work of art is a single frame from which B. must somehow attempt to recall the film that just might be the last great hope of civilization. Thus begins a mind-boggling journey through the hilarious nightmarescape of a psyche as lushly Kafkaesque as it is atrophied by the relentless spew of Twitter. Desperate to impose order on an increasingly nonsensical existence, trapped in a self-imposed prison of aspirational victimhood and degeneratively inclusive language, B. scrambles to recreate the lost masterwork while attempting to keep pace with an ever-fracturing culture of "likes" and arbitrary denunciations that are simultaneously his bete noire and his raison d'etre.A searing indictment of the modern world, Antkind is a richly layered meditation on art, time, memory, identity, comedy, and the very nature of existence itself—the grain of truth at the heart of every joke.

    Almost drowned out by the sounds of the mundane world. Did people in this polished building understand how noisy it was? The roar of air conditioners and computer fans, the susurration of many voices heard but not decipherable.... This was the office of the transEarth Institute, an arm of the Black Corporation. The faceless office, all plasterboard and chrome, was dominated by a huge logo, a chesspiece knight. This wasn't Joshua's world. None of it was his world. In fact, when you got right down to it, he didn't have a world; he had all of them.ALL OF THE LONG EARTH.The possibilites are endless. Just be careful what you wish for....)1916: The Western Front. Private Percy Blakeney wakes up. He is lying on fresh spring grass. He can hear birdsong, and the wind in the leaves. Where has the mud, blood and blasted landscape of no-man's-land gone? For that matter, where has Percy gone?2015: Madison, Wisconsin. Police officer Monica Jansson is exploring the burned-out home of a reclusive--some said mad, others allege dangerous--scientist who seems to have vanished. Sifting through the wreckage, Jansson finds a curious gadget: a box containing some rudimentary wiring, a three-way switch, and...a potato. It is the prototype of an invention that will change the way humankind views the world forever.The first novel in an exciting new collaboration between Discworld creator Terry Pratchett and the acclaimed SF writer Stephen Baxter, The Long Earth transports readers to the ends of the earth and far beyond. All it takes is a single step....

    Here the characters' lives are linked to each other by acts of generosity or cruelty. A critic once called Rakoff "magnificent," a word which perfectly describes this wonderful novel in verse.

    A beautiful older woman named Peggy greets her and invites her to stay, on the house's usual conditions: she has ninety-nine nights to turn her life around. With nothing left to lose, Alba takes a chance and moves in. She soon discovers that this is no ordinary house. Past residents have included Virginia Woolf and Dorothy Parker, who, after receiving the assistance they needed, hung around to help newcomers - literally, in talking portraits on the wall. As she escapes into this new world, Alba begins a journey that will heal her wounds - and maybe even save her life. Filled with a colorful and unforgettable cast of literary figures, The House at the End of Hope Street is a charming, whimsical novel of hope and feminine wisdom that is sure to appeal to fans of Jasper Fforde and especially Sarah Addison Allen.

    But for Meg—locked in a dead-end relationship and with a deadline looming for a book that she can't write—this thought fills her with dread. Stuck in a labyrinth of her own devising, Meg knows that there must be a way out.

    In God Bless You, Dr. Kevorkian, Vonnegut skips back and forth between life and the Afterlife as if the difference between them were rather slight. In thirty odd "interviews," Vonnegut trips down "the blue tunnel to the pearly gates" in the guise of a roving reporter for public radio, conducting interviews: with Salvatore Biagini, a retired construction worker who died of a heart attack while rescuing his schnauzer from a pit bull, with John Brown, still smoldering 140 years after his death by hanging, with William Shakespeare, who rubs Vonnegut the wrong way, and with socialist and labor leader Eugene Victor Debs, one of Vonnegut's personal heroes.What began as a series of ninety-second radio interludes for WNYC, New York City's public radio station, evolved into this provocative collection of musings about who and what we live for, and how much it all matters in the end. From the original portrait by his friend Jules Feiffer that graces the cover, to a final entry from Kilgore Trout, God Bless You, Dr. Kevorkian remains a joy.

    In Light Boxes the inhabitants of one closely-knit town are experiencing perpetual February. It turns out that a god-like spirit who lives in the sky, named February, is punishing the town for flying, and bans flight of all kind, including hot air balloons and even children's kites. It's February who makes the sun nothing but a faint memory, who blankets the ground with snow, who freezes the rivers and the lakes. As endless February continues, children go missing and more and more adults become nearly catatonic with depression. But others find the strength to fight back, waging war on February.