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The world outside has grown toxic, the view of it limited, talk of it forbidden. The remnants of humanity live underground in a single silo. But there are always those who hope, who dream. These are the dangerous people, the residents who infect others with their optimism. Their punishment is simple. They are given the very thing they want: They are allowed to go outside.

Poppy never dreamed she would find the love she’s found with Prince Casteel. She wants to revel in her happiness but first they must free his brother and find hers. It’s a dangerous mission and one with far-reaching consequences neither dreamed of. Because Poppy is the Chosen, the Blessed. The true ruler of Atlantia. She carries the blood of the King of Gods within her. By right the crown and the kingdom are hers.

Simon Snow is the worst Chosen One who's ever been chosen. That's what his roommate, Baz, says. And Baz might be evil and a vampire and a complete git, but he's probably right. Half the time, Simon can't even make his wand work, and the other half, he starts something on fire. His mentor's avoiding him, his girlfriend broke up with him, and there's a magic-eating monster running around, wearing Simon's face.

Billie, Mary Alice, Helen, and Natalie have worked for the Museum, an elite network of assassins, for 40 years. Now their talents are considered old-school and no one appreciates what they have to offer in an age that relies more on technology than people skills.

Now reduced to a schoolyard chant, the Hope family murders shocked the Maine coast one bloody night in 1929. While most people assume seventeen-year-old Lenora was responsible, the police were never able to prove it. Other than her denial after the killings, she has never spoken publicly about that night, nor has she set foot outside Hope’s End, the cliffside mansion where the massacre occurred.

In 1958 Georgia, the shade of a 13-year-old black girl's skin can make the difference in her fate. Tangy Mae is the smartest of her mother's 10 children, but she is also the darkest complected. The Quinns - all different skin shades, all with unknown fathers - live with their charismatic, beautiful, and tyrannical mother, Rozelle, in poverty on the fringes of a Georgia town where Jim Crow rules. Rozelle's children live in fear of her mood swings and her violence, but they are devoted to her. Rozelle pulls her children out of school when they are 12 years old so that they can help support her by going to work.

Body & Soul is the story of a young man whose life is transformed by a gift. The gift is not without price - the work is relentless, the teachers exacting - but the reward is a journey that takes him to the drawing rooms of the rich and powerful, private schools, a gilt-edged marriage, and Carnegie Hall. Claude moves through this life as if he were playing a difficult composition, swept up in its drama and tension, surprised by its grace notes. Music, here, becomes a character in its own right, equaled in strength only by the music of Frank Conroy's own unmistakable, true voice.

An extraordinary debut novel of love that survives the fires of hell and transcends the boundaries of time. The narrator of The Gargoyle is a very contemporary cynic, physically beautiful and sexually adept, who dwells in the moral vacuum that is modern life. As the book opens, he is driving along a dark road when he is distracted by what seems to be a flight of arrows.

After receiving a frantic letter from her newly-wed cousin begging for someone to save her from a mysterious doom, Noemí Taboada heads to High Place, a distant house in the Mexican countryside. She’s not sure what she will find—her cousin’s husband, a handsome Englishman, is a stranger, and Noemí knows little about the region.

In The Anxious Generation, social psychologist Jonathan Haidt lays out the facts about the epidemic of teen mental illness that hit many countries at the same time. He then investigates the nature of childhood, including why children need play and independent exploration to mature into competent, thriving adults. Haidt shows how the “play-based childhood” began to decline in the 1980s, and how it was finally wiped out by the arrival of the “phone-based childhood” in the early 2010s.