THE HOTLY ANTICIPATED SEQUEL TO THE NO. 1 BESTSELLER CARRY ON Simon Snow is back and he's coming to America! The story is supposed to be over. Simon Snow did everything he was supposed to do. He beat the villain. He won the war. He even fell in love. Now comes the good part, right? Now comes the happily ever after... So why can’t Simon Snow get off the couch? What he needs, according to his best friend, is a change of scenery. He just needs to see himself in a new light. That’s how Simon and Penny and Baz end up in a vintage convertible, tearing across the American West. They find trouble, of course. (Dragons, vampires, skunk-headed things with shotguns.) And they get lost. They get so lost, they start to wonder whether they ever knew where they were headed in the first place. With Wayward Son, Rainbow Rowell has written a book for everyone who ever wondered what happened to the Chosen One after he saved the day. And a book for everyone who was ever more curious about the second kiss than the first. It’s another helping of sour cherry scones with an absolutely decadent amount of butter. Come on, Simon Snow. Your hero’s journey might be over – but your life has just begun.

A NEW YORK TIMES NOTABLE BOOK OF THE YEAR • A “furious and addictive new novel” (The New York Times) about mothers and daughters, and one woman's midlife reckoning as she flees her suburban life. “Exhilarating ... reads like a burning fever dream. A virtuosic, singular and very funny portrait of a woman seeking sanity and purpose in a world gone mad.” —The New York Times Book Review Samantha Raymond's life has begun to come apart: her mother is ill, her teenage daughter is increasingly remote, and at fifty-two she finds herself staring into "the Mids"—that hour of supreme wakefulness between three and four in the morning in which women of a certain age suddenly find themselves contemplating motherhood, mortality, and, in this case, the state of our unraveling nation. When she falls in love with a beautiful, decrepit house in a hardscrabble neighborhood in Syracuse, she buys it on a whim and flees her suburban life—and her family—as she grapples with how to be a wife, a mother, and a daughter, in a country that is coming apart at the seams. Dana Spiotta's Wayward is a stunning novel about aging, about the female body, and about female complexity in contemporary America. Probing and provocative, brainy and sensual, it is a testament to our weird times, to reforms and resistance and utopian wishes, and to the beauty of ruins.

“If King had written a sequel to The Stand, it might look something like this monumental epic of a story.”—James Rollins, #1 New York Times bestselling author of Kingdom of Bones “As great as Wanderers was, Wayward is better.”—Christopher Golden, New York Times bestselling author of Road of Bones Five years ago, ordinary Americans fell under the grip of a strange new malady that caused them to sleepwalk across the country to a destination only they knew. They were followed on their quest by the shepherds: friends and family who gave up everything to protect them. Their secret destination: Ouray, a small town in Colorado that would become one of the last outposts of civilization. Because the sleepwalking epidemic was only the first in a chain of events that led to the end of the world—and the birth of a new one. The survivors, sleepwalkers and shepherds alike, have a dream of rebuilding human society. Among them are Benji, the scientist struggling through grief to lead the town; Marcy, the former police officer who wants only to look after the people she loves; and Shana, the teenage girl who became the first shepherd—and an unlikely hero whose courage will be needed again. Because the people of Ouray are not the only survivors, and the world they are building is fragile. The forces of cruelty and brutality are amassing under the leadership of self-proclaimed president Ed Creel. And in the very heart of Ouray, the most powerful survivor of all is plotting its own vision for the new world: Black Swan, the A.I. who imagined the apocalypse. Against these threats, Benji, Marcy, Shana, and the rest have only one hope: one another. Because the only way to survive the end of the world is together.

“Drawing on historical events, including King Olaf’s reign in Norway and the burning of Chartres Cathedral, Laxness revises and renews the bloody sagas of Icelandic tradition, producing not just a spectacular historical novel but one of coal-dark humor and psychological depth.” – Publishers Weekly First published in 1952, Halldór Laxness’s Wayward Heroes offers an unlikely representation of modern literature. A reworking of medieval Icelandic sagas, the novel is set against the backdrop of the medieval Norse world. Laxness satirizes the spirit of sagas, criticizing the global militarism and belligerent national posturing rampant in the postwar buildup to the Cold War. He does that through the novel’s main characters, the sworn brothers Þormóður Bessason and Þorgeir Hávarsson, warriors who blindly pursue ideals that lead to the imposition of power through violent means. The two see the world around them only through a veil of heroic illusion: kings are fit either to be praised in poetry or toppled from their thrones, other men only to kill or be killed, women only to be mythic fantasies. Replete with irony, absurdity, and pathos, the novel more than anything takes on the character of tragedy, as the sworn brothers’ quest to live out their ideals inevitably leaves them empty-handed and ruined.

A breathtaking exploration of the lives of young black women in the early twentieth century. In Wayward Lives, Beautiful Experiments, Saidiya Hartman examines the revolution of black intimate life that unfolded in Philadelphia and New York at the beginning of the twentieth century. Free love, common-law and transient marriages, serial partners, cohabitation outside of wedlock, queer relations, and single motherhood were among the sweeping changes that altered the character of everyday life and challenged traditional Victorian beliefs about courtship, love, and marriage. Hartman narrates the story of this radical social transformation against the grain of the prevailing century-old argument about the crisis of the black family. In wrestling with the question of what a free life is, many young black women created forms of intimacy and kinship that were indifferent to the dictates of respectability and outside the bounds of law. They cleaved to and cast off lovers, exchanged sex to subsist, and revised the meaning of marriage. Longing and desire fueled their experiments in how to live. They refused to labor like slaves or to accept degrading conditions of work. Beautifully written and deeply researched, Wayward Lives recreates the experience of young urban black women who desired an existence qualitatively different than the one that had been scripted for them—domestic service, second-class citizenship, and respectable poverty—and whose intimate revolution was apprehended as crime and pathology. For the first time, young black women are credited with shaping a cultural movement that transformed the urban landscape. Through a melding of history and literary imagination, Wayward Lives recovers their radical aspirations and insurgent desires.