Now that I know where Gretchen Wyre lives--the witch who hexed my great-great grandmother and all her female descendants--it's time to break the curse. I enlist my grandmother Rowan and my grandmother Naomi--who's visiting from Ireland--to help. But just because we know where Gretchen is, doesn't guarantee success. And some curses take on a demonic life of their own, and those demons aren't willing to vanish into the sunset without a fight.

Winner of the Schneider Family Book Award! A debut novel for fans of The Fault in Our Stars that thoughtfully and humorously depicts teen Ricky Bloom's struggles with a recent chronic illness diagnosis. "Silverstein sheds a powerful light on disease and how managing it can bring out one’s inner warrior. A blistering coming-of-age tale that will propel readers into Ricky’s corner." -Booklist As if her parents' divorce and sister's departure for college weren't bad enough, fourteen-year-old Ricky Bloom has just been diagnosed with a life-changing chronic illness. Her days consist of cursing everyone out, skipping school--which has become a nightmare--daydreaming about her crush, Julio, and trying to keep her parents from realizing just how bad things are. But she can't keep her ruse up forever. Ricky's afraid, angry, alone, and one suspension away from repeating ninth grade when she realizes: she can't be held back. She'll do whatever it takes to move forward--even if it means changing the person she's become. Lured out of her funk by a quirky classmate, Oliver, who's been there too, Ricky's porcupine exterior begins to shed some spines. Maybe asking for help isn't the worst thing in the world. Maybe accepting circumstances doesn't mean giving up.

Now an original series starring Katherine Langford on Netflix! The Lady of the Lake is the true hero in this cinematic twist on the tale of King Arthur created by Thomas Wheeler and legendary artist, producer, and director Frank Miller (300, Batman: The Dark Knight Returns, Sin City). Featuring 8 full-color and 30 black-and-white pieces of original artwork by Frank Miller. Whosoever wields the Sword of Power shall be the one true King. But what if the Sword has chosen a Queen? Nimue grew up an outcast. Her connection to dark magic made her something to be feared in her Druid village, and that made her desperate to leave… That is, until her entire village is slaughtered by Red Paladins, and Nimue’s fate is forever altered. Charged by her dying mother to reunite an ancient sword with a legendary sorcerer, Nimue is now her people’s only hope. Her mission leaves little room for revenge, but the growing power within her can think of little else. Nimue teams up with a charming mercenary named Arthur and refugee Fey Folk from across England. She wields a sword meant for the one true king, battling paladins and the armies of a corrupt king. She struggles to unite her people, avenge her family, and discover the truth about her destiny. But perhaps the one thing that can change Destiny itself is found at the edge of a blade.

To save her sisters from a spell that has forced them to be Without, Princess Jane of Ever must work with Reagan, the witch who set the curse on her family.

This is a book about curses. It is not about curses as insults or offensive language but curses as petitions to the divine world to render judgment and execute harm on identified, hostile forces. In the ancient world, curses functioned in a way markedly different from our own, and it is into the world of the ancient Near East that we must go in order to appreciate the scope of their influence. For the ancient Near Easterners, curses had authentic meaning. Curses were part of their life and religion. They were not inherently magic or features of superstitions, nor were they mere curiosities or trifling antidotes. They were real and effective. They were employed proactively and reactively to manage life’s many vicissitudes and maintain social harmony. They were principally protective, but they were also the cause of misfortune, illness, depression, and anything else that undermined a comfortable, well-balanced life. Every member of society used them, from slave to king, from young to old, from men and women to the deities themselves. They crossed cultural lines and required little or no explanation, for curses were the source of great evil. In other words, curses were universal. Because curses were woven into the very fabric of every known ancient Near Eastern society, they emerge frequently and in a wide variety of venues. They appear on public and private display objects, on tomb stelae, tomb lintels, and sarcophagi, on ancient kudurrus and narûs. They are used in political, administrative, social, religious, and familial contexts. They are the subject of incantations. They are tools that exorcise demons and dispel disease; they ban, protect, and heal. This is the phenomenology of cursing in the ancient Near East, and this is what the present work explores.

Finally, the shadow man is gone. I’ve been on sabbatical, trying to work on a book, but I’m getting antsy to return to my job. And then, one beautiful April morning, Rebecca the Imp delivers a message to me: Briar, the Fae Lord who helped us when we were trying to save Tad and Hank from Bigfoot, has called in my debt. It’s time to repay the favor. A dangerous member of the sub-Fae has escaped from the Overking’s realm and it’s loose in Moonshadow Bay. If the Court Magika discovers that a sluagh is running around, it could endanger negotiations between the Witchblood and the Fae. So Briar assigns the task to me: find and destroy the sluagh. The trouble is, I can’t tell my grandmother about it, or any member of the Court. So it’s back to Conjure Ink, to resume work on a part-time basis, and to enlist the agency’s help in tracking down the sub-Fae. Can I manage to clear my debt to the Overkings? And can we destroy the sluagh before it goes on a killing spree through Moonshadow Bay?

Cursed Bunny is a genre-defying collection of short stories by Korean author Bora Chung. Blurring the lines between magical realism, horror, and science-fiction, Chung uses elements of the fantastic and surreal to address the very real horrors and cruelties of patriarchy and capitalism in modern society. Anton Hur’s translation skilfully captures the way Chung’s prose effortlessly glides from being terrifying to wryly humorous. Winner of a PEN/Heim Grant.