After their plane crashes in Alaska, seven oil workers are led by a skilled huntsman to survival, but a pack of merciless wolves haunts their every step.

In a heart-pounding, atmospheric ghost story, a teenage boy must find the resources within himself to save his haunted twin brother. After their nan accidentally burns their home down, twin brothers Pat and Dom must move with their parents and baby sister to the seaside cottage they’ve summered in, now made desolate by the winter wind. It’s there that the ghost appears — a strange boy who cries black tears and fears a bad man, a soldier, who is chasing him. Soon Dom has become not-Dom, and Pat can sense that his brother is going to die — while their overwhelmed parents can’t even see what’s happening. Isolated and terrified, Pat needs to keep his brother’s cover while figuring out how to save him, drawing clues from his own dreams and Nan’s long-ago memories, confronting a mystery that lies between this world and the next — within the Grey. With white-knuckle pacing and a deft portrayal of family relationships, Celine Kiernan offers a taut psychological thriller that is sure to haunt readers long after the last page is turned.

Generally considered the least lively and most bleak of casts, gray is the taint of vagueness and uncertainty. Marking the threshold region where luminous life seems suspended but death has not yet darkened the horizon, it belongs to an evasive and evanescent world, carrying the tint of smoke, fog, ashes, and dust. As the ambiguous space of thought and remembrance where things blend and blur, gray measures the difference between distance and proximity, shading into tinges of hesitation, hues of taciturnity, tones of time past and lost. Thus it may also be the spectral medium of literature itself—that grainy gas of language. Written with a lead pencil akin to those found in Nabokov, Rilke, Svevo, Poe, and Dickinson, The Gray Book chronicles the vicissitudes of such equivocal articulation—registering the graphite traces it leaves behind but also recording the dwindling span of its life. The book situates itself in a region beyond criticism but this side of literature, characterized by forgetting and finitude, and investigating important yet seemingly inaccessible "gray areas" in texts as old as those of Homer, and as recent as those of Beckett. Loosely arranging these literary finds according to a revision of the four elements, The Gray Book distances itself from tradition and treats not water but tears, not fire but vapor, not earth but grain, not air but clouds. The narrative thus construed, proceeding in the meandering movements of volatile thought rather than in the prudent steps of a treatise, appears gradually affected by its subject. Themes and facts previously confined to the realm of quoted texts leak into the narrative itself. The border between fiction and fact slowly dissolves as the book approaches the curious void that the author locates at the heart of "gray literature." Shaped by an omnipresent though increasingly unreliable narrator, The Gray Book may thus ultimately yield a poetics cast in the form of a ghost story.

The future is grey.For most of the world life had improved after the implementation of the Basic Human Standard and the formation of The Global Federation of Nations. However, after fifteen years, there are some who still fight against the principles of the organization. Natalie Kelley is a journalist for the Chicago Tribune whose reporting focuses on American terrorist groups in opposition to the GFN. When an Oklahoma City restaurant is attacked, Natalie travels to investigate the incident, but soon begins to question whether the assault was an amateur action or part of a larger conspiracy. The Grey Zone follows Natalie and a cast of characters from both sides of the battle and explores the ramifications of an exceedingly globalized planet as conflicting ideologies clash across the United States.

A story about the trials and triumphs of a Black chef from Queens, New York, and a White media entrepreneur from Staten Island who built a relationship and a restaurant in the Deep South, hoping to bridge biases and get people talking about race, gender, class, and culture. NAMED ONE OF THE BEST COOKBOOKS OF THE YEAR BY GARDEN & GUN • “Black, White, and The Grey blew me away.”—David Chang In this dual memoir, Mashama Bailey and John O. Morisano take turns telling how they went from tentative business partners to dear friends while turning a dilapidated formerly segregated Greyhound bus station into The Grey, now one of the most celebrated restaurants in the country. Recounting the trying process of building their restaurant business, they examine their most painful and joyous times, revealing how they came to understand their differences, recognize their biases, and continuously challenge themselves and each other to be better. Through it all, Bailey and Morisano display the uncommon vulnerability, humor, and humanity that anchor their relationship, showing how two citizens commit to playing their own small part in advancing equality against a backdrop of racism.

*Finalist for the 2012 National Book Critics Circle Award for Criticism* *A Publishers Weekly Top 10 Literary Criticism and Essays Pick for Spring 2012* The Grey Album, the first work of prose by the brilliant poet Kevin Young, winner of the Graywolf Press Nonfiction Prize Taking its title from Danger Mouse's pioneering mashup of Jay-Z's The Black Album and the Beatles' The White Album, Kevin Young's encyclopedic book combines essay, cultural criticism, and lyrical choruses to illustrate the African American tradition of lying—storytelling, telling tales, fibbing, improvising, "jazzing." What emerges is a persuasive argument for the many ways that African American culture is American culture, and for the centrality of art—and artfulness—to our daily life. Moving from gospel to soul, funk to freestyle, Young sifts through the shadows, the bootleg, the remix, the grey areas of our history, literature, and music.

The Grey Woods is a meeting place between worlds, where souls go after they die, where they come before they are born. Here Lady Atya of the Majae draws Fin Goldvale into this spiritual realm to witness past events that hold the key to his future. Fin is caught between his cousin Madros and his love for Eamìn the Majae and in order to protect her, Fin must navigate Madros' growing madness by understanding this insufferable man's past. Madros sends Eamìn to a remote city where his cousin Gareth is king. Fin is sent along and accused of an affair with Eamìn, who is forced to marry Gareth while in hiding. He escapes to Madros' city with the news that she is no longer safe there. But pulling her out will expose her to the Lord of the Dream Realm, who Madros is ultimately protecting her from. Madros must decide if leaving Eamìn with Gareth is the lesser of two evils or will the worry drive him to choose an option so deadly, in an attempt to rid both threats to her. In the end Fin must decide whom to serve.