In the house of Helios, god of the sun and mightiest of the Titans, a daughter is born. But Circe is a strange child—not powerful, like her father, nor viciously alluring like her mother. Turning to the world of mortals for companionship, she discovers that she does possess power—the power of witchcraft, which can transform rivals into monsters and menace the gods themselves.

Among the ashes of a dying world, an agent of the Commandment finds a letter. It reads: Burn before reading. Thus begins an unlikely correspondence between two rival agents hellbent on securing the best possible future for their warring factions. Now, what began as a taunt, a battlefield boast, becomes something more. Something epic. Something romantic. Something that could change the past and the future. Except the discovery of their bond would mean the death of each of them. There’s still a war going on, after all. And someone has to win. That’s how war works, right?

Likened to the works of Faulkner and Dickens when it was first published 20 years ago, this extraordinarily accomplished debut novel is a brilliantly plotted story of forbidden love and piercing political drama, centered on the tragic decline of an Indian family in the state of Kerala, on the southernmost tip of India. Armed only with the invincible innocence of children, the twins Rahel and Esthappen fashion a childhood for themselves in the shade of the wreck that is their family.

“Here in the Cellar”, Corinna says, “I control the Folk. Here, I’m queen of the world”. As Folk Keeper at the Rhysbridge Home, she feeds the fierce, dark-dwelling cave Folk; keeps them from souring the milk, killing the chickens, and venting their anger on the neighborhood; and writes it all down in her Folk Record. Since only boys are Folk Keepers, she has disguised herself as a boy, Corin, and it is a boy and a Folk Keeper she intends to stay. Yet there comes a moment when someone else knows the truth.

In Dearly, Margaret Atwood’s first collection of poetry in over a decade, Atwood addresses themes such as love, loss, the passage of time, the nature of nature and—zombies. Her new poetry is introspective and personal in tone, but wide-ranging in topic. In poem after poem, she casts her unique imagination and unyielding, observant eye over the landscape of a life carefully and intuitively lived.

Jacob is an Anglo-Dutch trader and adventurer, with a small holding in the harsh north. Despite his distaste for dealing in "flesh," he takes a small slave girl in part payment for a bad debt from a plantation owner in Catholic Maryland. This is Florens, "with the hands of a slave and the feet of a Portuguese lady." Florens looks for love, first from Lina, an older servant woman at her new master's house, but later from a handsome blacksmith, an African, never enslaved.

In her second poetry collection, Barbara Kingsolver offers reflections on the practical, the spiritual, and the wild. She begins with "how to" poems addressing everyday matters such as being hopeful, married, divorced; shearing a sheep; praying to unreliable gods; doing nothing at all; and of course, flying. Next come rafts of poems about making peace (or not) with the complicated bonds of friendship and family, and making peace (or not) with death, in the many ways it finds us.

IRL is a sweaty summertime poem composed like a long text message, rooted in the epic tradition of A.R. Ammons, ancient Kumeyaay Bird Songs, and Beyoncé’s visual albums. It follows Teebs, a reservation-born, queer NDN weirdo, trying to figure out his impulses/desires/history in the midst of Brooklyn rooftops, privacy in the age of the Internet, street harassment, suicide, boys boys boys, literature, colonialism, religion, leaving one's 20s, and a love/hate relationship with English.

This revised and expanded edition of The Essential Rumi includes a new introduction by Coleman Barks and more than 80 never-before-published poems. Through his lyrical translations, Coleman Barks has been instrumental in bringing this exquisite literature to a remarkably wide range of listeners, making the ecstatic, spiritual poetry of 13th-century Sufi mystic Rumi more popular than ever.

For more than a half century, Father Damien Modeste has served his beloved people, the Ojibwe, on the remote reservation of Little No Horse. Now, nearing the end of his life, Father Damien dreads the discovery of his physical identity, for he is a woman who has lived as a man. To complicate his fears, his quiet life changes when a troubled colleague comes to the reservation to investigate the life of the perplexing, difficult, possibly false saint Sister Leopolda.

With her first full-length poetry collection, Warsan Shire introduces us to a young girl, who, in the absence of a nurturing guide, makes her own way toward womanhood. Drawing from her own life, as well as pop culture and news headlines, Shire finds vivid, unique details in the experiences of refugees and immigrants, mothers and daughters, Black women and teenage girls.

In these brilliant new poems, Tracy K. Smith envisions a sci-fi future sucked clean of any real dangers, contemplates the dark matter that keeps people both close and distant, and revisits the kitschy concepts like "love" and "illness" now relegated to the Museum of Obsolescence. These poems reveal the realities of life lived here, on the ground, where a daughter is imprisoned in the basement by her own father, where celebrities and pop stars walk among us, and where the poet herself loses her father, one of the engineers who worked on the Hubble Space Telescope.

What is this world? What kind of place is it? The round kind. The spinning kind. The moist kind. The inhabited kind. The kind with flamingos (real and artificial). The kind where water in the sky turns into beautifully symmetrical crystal flakes sculpted by artists unable to stop themselves (in both design and quantity). The kind of place with tiny, powerfully jawed mites assigned to the carpets to eat my dead skin as it flakes off....

The only thing more beautiful than Beyoncé is God, and God is a black woman sipping rosé and drawing a lavender bath, texting her mom, belly laughing in the therapist's office, feeling unloved, being on display, daring to survive. Morgan Parker stands at the intersections of vulnerability and performance, of desire and disgust, of tragedy and excellence. Unrelentingly feminist, tender, and ruthless, these poems are an altar to the complexities of black American womanhood in an age of non-indictments and déjà vu.

A girl grows up in Nunavut in the 1970s. She knows joy and friendship and parents' love. She knows boredom and listlessness and bullying. She knows the tedium of the everyday world and the raw, amoral power of the ice and sky, the seductive energy of the animal world. She knows the ravages of alcohol and violence at the hands of those she should be able to trust. She sees the spirits that surround her and the immense power that dwarfs all of us. When she becomes pregnant, she must navigate all this.

Between life and death, dreaming and waking, at the train stop beyond the end of the world is the city of Palimpsest. To get there is a miracle, a mystery, a gift, and a curse - a voyage permitted only to those who’ve always believed there’s another world than the one that meets the eye. Those fated to make the passage are marked forever by a map of that wondrous city tattooed on their flesh after a single orgasmic night. To this kingdom of ghost trains, lion-priests, living kanji, and cream-filled canals come four travelers.

Good Poems includes poems about lovers, children, failure, everyday life, death, and transcendence. It features the work of classic poets, such as Emily Dickinson, Walt Whitman, and Robert Frost, as well as the work of contemporary greats such as Howard Nemerov, Charles Bukowski, Donald Hall, Billy Collins, Robert Bly, and Sharon Olds Good Poems includes poems about lovers, children, failure, everyday life, death, and transcendence.

The only thing more beautiful than Beyoncé is God, and God is a black woman sipping rosé and drawing a lavender bath, texting her mom, belly laughing in the therapist's office, feeling unloved, being on display, daring to survive. Morgan Parker stands at the intersections of vulnerability and performance, of desire and disgust, of tragedy and excellence. Unrelentingly feminist, tender, and ruthless, these poems are an altar to the complexities of black American womanhood in an age of non-indictments and déjà vu.

In the collection's marvelous title story, two aging vampires in a sun-drenched Italian lemon grove find their hundred-year marriage tested when one of them develops a fear of flying. In "The Seagull Army Descends on Strong Beach, 1979", a dejected teenager discovers that the universe is communicating with him through talismanic objects left in a seagull's nest. "Proving Up" and "The Graveless Doll of Eric Mutis" find Russell veering into more sinister territory.

Yasodhara tells the story of her own Sinhala family, rich in love, with everything they could ask for. As a child in idyllic Colombo, social hierarchies, their parents’ ambitions, teenage love shape Yasodhara and her siblings’ lives, and, subtly, the differences between Tamil and Sinhala people; but the peace is shattered by the tragedies of war. Yasodhara's family escapes to Los Angeles. But Yasodhara's life has already become intertwined with a young Tamil girl's.

One of the most recognizable young poets in America, Olivia Gatwood dazzles with her tribute to contemporary American womanhood in her debut book, New American Best Friend. Gatwood's poems deftly deconstruct traditional stereotypes. The focus shifts from childhood to adulthood, gender to sexuality, violence to joy. And always and inexorably, the book moves toward celebration, culminating in a series of odes: odes to the body, to tough women, to embracing your own journey in all its failures and triumphs.

Botswana, 1976: Isaac Muthethe thinks he is dead. Smuggled across the border from South Africa in a hearse, he awakens covered in dust, staring at blue sky and the face of White Dog. Far from dead, he is, for the first time, in a country without apartheid. A medical student in South Africa, he was forced to flee after witnessing a friend murdered by white members of the South African Defense Force.

Lauren Groff’s acclaimed debut novel The Monsters of Templeton was short-listed for the Orange Prize. Her second novel, Arcadia opens in the late 1960s with a group of young idealists forming a commune in western New York State. Into this group is born Bit, who grows into a quiet, distant man. Over the course of 50 years, Bit witnesses the utopia crumble and the world change in unimaginable ways.

It is 1978, and John Lennon has escaped New York City to try to find the island off the west coast of Ireland he bought nine years prior. Leaving behind domesticity, his approaching 40s, his inability to create, and his memories of his parents, he sets off to find calm in the comfortable silence of isolation. But when he puts himself in the hands of a shape-shifting driver full of Irish charm and dark whimsy, what ensues can only be termed a magical mystery tour.

In this short book illuminated by a deep understanding and love of humanity, John Steinbeck retells an old Mexican folk tale: the story of the great pearl, how it was found, and how it was lost. For the diver Kino, finding a magnificent pearl means the promise of a better life for his impoverished family. His dream blinds him to the greed and suspicions the pearl arouses in him and his neighbors, and even his loving wife cannot temper his obsession or stem the events leading to the tragedy. For Steinbeck, Kino and his wife illustrate the fall from innocence of people who believe that wealth erases all problems.

Alexandra Fuller tells the idiosyncratic story of her life growing up white in rural Rhodesia as it was becoming Zimbabwe. The daughter of hardworking, yet strikingly unconventional English-bred immigrants, Alexandra arrives in Africa at the tender age of two. She moves through life with a hardy resilience, even as a bloody war approaches. Narrator Lisette Lecat reads this remarkable memoir of a family clinging to a harsh landscape and the dying tenets of colonialism.

Magical Negro is an archive of black everydayness, a catalog of contemporary folk heroes, an ethnography of ancestral grief, and an inventory of figureheads, idioms, and customs. These American poems are both elegy and jive, joke and declaration, songs of congregation and self-conception. Focused primarily on depictions of black womanhood alongside personal narratives, the collection tackles interior and exterior politics - of both the body and society, of both the individual and the collective experience.

On Wilde Island, Rosalind and her mother live their lives in exile, awaiting the time they can reclaim their rightful place on the throne. And there is reason to hope - a 600-year-old prophesy has decreed that they will do just that. But little do they know, their destinies hinge on Rosalind's amazing, shameful secret. Beneath her gold gloves, the fourth finger of her left hand is in truth a dragon's claw.

In Her Body and Other Parties, Carmen Maria Machado blithely demolishes the arbitrary borders between psychological realism and science fiction, comedy and horror, fantasy and fabulism. While her work has earned her comparisons to Karen Russell and Kelly Link, she has a voice that is all her own. In this electric and provocative debut, Machado bends genre to shape startling narratives that map the realities of women's lives and the violence visited upon their bodies.

Spanning six decades of the 1800s, this mesmerizing story is a fictional biography of Marie Laveau - one of the most haunting characters in New Orleans’ history. Part of a long line of voodoo priestesses and healers, Marie tells of the mystery, passion, and violence that pattern her life. Like her grandmother, Marie sees visions from an early age. She never knew her mother, who practiced a spiritualism so potent she was murdered by those who feared her.