Roger Micheldene, an English publisher, is on the loose in the US. He spends an October week shuttling between New York and Budweiser College in Pennsylvania. This exercises all his British appetites … snobbery, gluttony, anger, sloth, and lust. But Amis roasts Americans as well and serves us familiar dishes, though in a piquant sauce: the precocious undergraduate author of a far-out novel, an earnest young priest, and an alcoholic literary agent’s nymphomaniacal wife.

Once an inventive puppeteer, Sabbath at sixty-four is still defiantly antagonistic and exceedingly libidinous. But after the death of his longtime mistress—an erotic free spirit whose adulterous daring surpassed even his own—Sabbath, bereft and grieving and besieged by the ghosts of those who loved and hated him most, contrives a succession of farcical disasters that take him to the brink of madness and extinction.

Set in Kiev in 1911 during a period of heightened anti-Semitism, the novel tells the story of Yakov Bok, a Jewish handyman blamed for the brutal murder of a young Russian boy. Bok leaves his village to try his luck in Kiev and, after denying his Jewish identity, finds himself working for a member of the anti-Semitic Black Hundreds Society. When the boy is found nearly drained of blood in a cave, the Black Hundreds accuse the Jews of ritual murder.

The murderee is Nicola Six, a "black hole" of sex and self-loathing who is intent on orchestrating her own extinction. The murderer may be Keith Talent, a violent lowlife whose only passions are pornography and darts; or the rich, honorable, and dimly romantic Guy Clinch. As Nicola leads her suitors towards the precipice, London--and, indeed, the whole world--seems to shamble after them in a corrosively funny novel of complexity and morality.

One evening, as a young boy growing up in Benghazi, Khaled hears a bizarre short story read aloud on the radio, about a man being eaten alive by a cat, and has the sense that his life has been changed forever. Obsessed by the power of those words—and by their enigmatic author, Hosam Zowa—Khaled eventually embarks on a journey that will take him far from home, to pursue a life of the mind at the University of Edinburgh. There, thrust into an open society that is miles away from the world he knew in Libya, Khaled begins to change.

Two little girls stand with their heads bowed in my living room. I’m told they’re my granddaughters. Daisy is nine, and Alice seven. Daisy is the spitting image of her mother. This is the first time I’ve met them since my daughter and I fell out after she married that waste of space, Vince. They’ve come to live with me because their mother — my daughter — was murdered. In her own home while they slept close by. I think Vince killed her. But the police can’t prove it. I’ve always known he was no good. He treated my daughter like dirt. I said he’d cheat on her — but she wouldn’t listen.

Lowen Ashleigh is a struggling writer on the brink of financial ruin when she accepts the job offer of a lifetime. Jeremy Crawford, husband of best-selling author Verity Crawford, has hired Lowen to complete the remaining books in a successful series his injured wife is unable to finish. Lowen arrives at the Crawford home, ready to sort through years of Verity's notes and outlines, hoping to find enough material to get her started. What Lowen doesn't expect to uncover in the chaotic office is an unfinished autobiography Verity never intended for anyone to read.

Who is Audrey Hoedemaker? It's a question her sister Maureen has heard more times than she can count, and she doesn't know what the short answer would be. Little sister, troubled teen, backpacker, musical theatre coach, con artist, childcare worker. Murderer. A tragic, traumatic childhood casts a long shadow on the Hoedemaker sisters. Maureen has worked hard to move beyond the violence of the past and build a good, honest life for herself. Audrey, however, just can't seem to do the same, careening from one state of chaos to another.

After the killing of a prominent mob lawyer, NYPD homicide detectives Jacob Jackson and Caitlin Grimes start receive chilling, written “rules” for how to commit the perfect murder. "Rule number one for the perfect murder: Evidence is your enemy. Leave none behind." Jackson (Reid Scott) and Grimes (Cobie Smulders) race to find the killer, setting them on a collision course with the city’s crime underbelly, and a perpetrator who seems happy to toy with them. “Rule number two. No crimes of passion. The perfect murder is always business, never pleasure.”

Kidnappers grabbed Jenna in broad daylight, right in front of her children and their horrified classmates. Her family was issued an insane ransom demand: $25 million in cash and jewels, payable by the end of the school day, otherwise they’ll never see her again. As Jenna’s mother scrambles to gather the money, detectives Mo Butler and George Ortega follow the trail of the kidnappers, which will lead them through a sordid landscape of jealous lovers, broken dreamers, and twisted schemers. But every second counts, and there’s one thing Jenna Wade doesn’t have: very much time.

The murderee is Nicola Six, a "black hole" of sex and self-loathing who is intent on orchestrating her own extinction. The murderer may be Keith Talent, a violent lowlife whose only passions are pornography and darts; or the rich, honorable, and dimly romantic Guy Clinch. As Nicola leads her suitors towards the precipice, London--and, indeed, the whole world--seems to shamble after them in a corrosively funny novel of complexity and morality.

There were conjugal visits in the slave camps of the USSR. Valiant women would travel continental distances, over weeks and months, in the hope of spending a night with their particular enemy of the people, in the House of Meetings. The consequences of these liaisons were almost invariably tragic. House of Meetings is about one such liaison.

Martin Amis first tackled the Holocaust in 1991 with his bestselling novel Time's Arrow. He returns again to the Shoah with this astonishing portrayal of life in "the zone of interest," or "kat zet"—the Nazis' euphemism for Auschwitz. The narrative rotates among three main characters: Paul Doll, the crass, drunken camp commandant; Thomsen, nephew of Hitler's private secretary, in love with Doll's wife; and Szmul, one of the Jewish prisoners charged with disposing of the bodies.

The year is 1970, and it's a long, hot summer. In a castle on a mountainside in Italy, half a dozen young lives are afloat on a sea of change, trapped inside the history of the sexual revolution. The girls are acting like boys, the boys are going on acting like boys, and Keith Nearing - 20 years old, a literature student all clogged up with the English novel - is struggling to twist feminism and women's ascendency toward his own ends.

Elise King is a successful and ambitious detective—or she was before a medical leave left her unsure if she'd ever return to work. She now spends most days watching the growing tensions in her small seaside town of Ebbing—the weekenders renovating old bungalows into luxury homes, and the locals resentful of the changes.

When Betty MacDonald married a marine and moved to a small chicken farm on the Olympic Peninsula in Washington State, she was largely unprepared for the rigors of life in the wild. With no running water, no electricity, a house in need of constant repair, and days that ran from four in the morning to nine at night, the MacDonalds had barely a moment to put their feet up and relax. And then came the children. Yet through every trial and pitfall - through chaos and catastrophe - this indomitable family somehow, mercifully, never lost its sense of humor.

When my wolf appears for the first time, I'm so overjoyed that I don't think; I just run into the forest… and smack into Black Maddox, the leader of my pack. Only he doesn't believe that I'm what I say I am. He insists that I'm part of a rival pack and locks me up in his basement. Black's twice my age, insanely powerful, and has a streak of darkness running through him a mile wide and an ocean deep.

With an agoraphobic mother and a barely-there father, Sang abhors the isolation keeping her in the shadows. The only thing Sang craves is a fresh start and to be accepted as ordinary by her peers, because for her being different meant being cast out alone. When her family moves to a new school district, Sang infiltrates a group of boys nearly perfect in every way.

Earth is in decline, and the wealthy have fled it, leaving only the destitute citizens behind. And aliens. Gemma McKinley works at a prison cleaning goop off the floors and serving food to inmates. When she is reassigned to the alien ward, Gemma is nervous. Aliens are dangerous and ruthless. They bite. But there is one that isn’t like them. Simon is damaged, starved, and wasting away in complete isolation. Touched by his loneliness, Gemma starts nursing him back to health, dismissing rumors that he’s high-risk, ignoring the advice to let him croak.

Born to elegant but frivolous parents, Harriet grows up ignored and unguided, and retains a curious innocence that neither her marriage to Freddie Lytton, nor her friendship with the beautiful Tessa can dispel. Freddie is far older than she is - a companion rather than a lover - and slightly disapproving of Tessa and her irresponsible, attractive husband, Jack. Yet all four are bound together: by their backgrounds, their children, by Harriet’s unspoken feelings for Jack and by the tragedy that lies in wait for all of them.

Michael Crawley immerses himself in various endurance cultures and asks what makes enduring together meaningful to people. He learns how Nepalese runners face different challenges depending on their location up a mountain, from those in the lowlands and ‘middle hills’ to Sherpas from the Solu Khumbu, and observes Tarahumara ultrarunners’ ability to cover extreme distances on highly technical terrain. But he also delves into the history of Dance Marathons, six-day pedestrianism races in Madison Square Gardens and the unique Enhanced Games.

Piper MacLean’s Christmas is a ho-ho-horror show, but she’s used to all that by now, five years into becoming the de facto matriarch of the family—still single and childless, much to everyone else’s chagrin. But she does have one indulgence every year: finding the perfect Christmas tree. While searching the national forest, Piper is led to a beautiful spruce by way of magic. Well, not actual magic—magic, of course, doesn’t exist—but it sure feels magical when she hears the voice of her deceased mother floating on the wintery winds, telling her just which tree to chop.

During the worst blizzard in memory, an FBI agent in a moving SUV in New York City is killed by a nearly impossible sniper shot. Unable to pinpoint where the shot came from, as the storm rapidly wipes out evidence, the agent-in-charge Brett Kehoe turns to the one man who might be able to help them - former FBI agent Lucas Page. Page, a university professor and best-selling author, left the FBI years ago after a tragic event robbed him of the willingness to continue. Lucas Page has no interest in helping the FBI - except for the fact that the victim was his former partner.

When Anna Durrant is reported missing her friends seem unconcerned at her disappearance. After all, her life has been one of concealment. For years Anna submitted to the protective dependence of her mother, and even after Amy Durrant’s death she simply conformed to the expectations of others. Increasingly, Anna feels herself trapped by these expectations.

Once upon a time, a wondrous Kingdom flourished under the reign of its proud Fae king and his family. All was not as it seemed when poisonous schemes and utter betrayal led to the downfall of an empire. Sixteen years have since passed, the lands now lay in ruin, and crime prevails despite the will of the Council. Their mission becomes clear: produce an heir and unite the Kingdom to restore its former glory.