I Wonder What I’m Thinking About brings artist and illustrator Moose Allain’s best creations together in one place, in a colourful, amusing and sometimes confusing collector’s item. Moose draws cartoons, comic strips, book illustrations, doodles, diagrams, maps and guides. He uses Twitter, Instagram, Facebook, Vine and Photoshop. He makes photographs, captions, logos, web graphics, animations and films. He paints and he draws and he doodles. He writes short stories, puns, riddles, essays, todo lists and to-don’t lists. He draws ducks, bees, Vikings, eggs, sheep, umbrellas and flowers. If you’ve ever wondered what he’s thinking about... this is it. This book is filled to the brim with the best of his work, and at the heart of it Moose tries to work out just what it is that unites his amalgam of unique, funny and distinctly varied work.

Now a Netflix original movie, this deeply scary and intensely unnerving novel follows a couple in the midst of a twisted unraveling of the darkest unease. You will be scared. But you won’t know why… I’m thinking of ending things. Once this thought arrives, it stays. It sticks. It lingers. It’s always there. Always. Jake once said, “Sometimes a thought is closer to truth, to reality, than an action. You can say anything, you can do anything, but you can’t fake a thought.” And here’s what I’m thinking: I don’t want to be here. In this smart and intense literary suspense novel, Iain Reid explores the depths of the human psyche, questioning consciousness, free will, the value of relationships, fear, and the limitations of solitude. Reminiscent of Jose Saramago’s early work, Michel Faber’s cult classic Under the Skin, and Lionel Shriver’s We Need to Talk about Kevin, “your dread and unease will mount with every passing page” (Entertainment Weekly) of this edgy, haunting debut. Tense, gripping, and atmospheric, I’m Thinking of Ending Things pulls you in from the very first page…and never lets you go.

From a "born storyteller" (Seattle Times), this playful and moving bestselling book of essays invites us into the miraculous and transcendent moments of everyday life. When Brian Doyle passed away at the age of sixty after a bout with brain cancer, he left behind a cult-like following of devoted readers who regard his writing as one of the best-kept secrets of the twenty-first century. Doyle writes with a delightful sense of wonder about the sanctity of everyday things, and about love and connection in all their forms: spiritual love, brotherly love, romantic love, and even the love of a nine-foot sturgeon. At a moment when the world can sometimes feel darker than ever, Doyle's writing, which constantly evokes the humor and even bliss that life affords, is a balm. His essays manage to find, again and again, exquisite beauty in the quotidian, whether it's the awe of a child the first time she hears a river, or a husband's whiskers that a grieving widow misses seeing in her sink every morning. Through Doyle's eyes, nothing is dull. David James Duncan sums up Doyle's sensibilities best in his introduction to the collection: "Brian Doyle lived the pleasure of bearing daily witness to quiet glories hidden in people, places and creatures of little or no size, renown, or commercial value, and he brought inimitably playful or soaring or aching or heartfelt language to his tellings." A life's work, One Long River of Song invites readers to experience joy and wonder in ordinary moments that become, under Doyle's rapturous and exuberant gaze, extraordinary.

My name is Amber Reynolds. There are three things you should know about me: 1. I’m in a coma. 2. My husband doesn’t love me anymore. 3. Sometimes I lie. Amber wakes up in a hospital. She can’t move. She can’t speak. She can’t open her eyes. She can hear everyone around her, but they have no idea. Amber doesn’t remember what happened, but she has a suspicion her husband had something to do with it. Alternating between her paralyzed present, the week before her accident, and a series of childhood diaries from twenty years ago, this brilliant psychological thriller asks: Is something really a lie if you believe it's the truth?

From typographic illustrator Marian Bantjes, I Wonder will make you think in new ways about art, design, beauty, and popular culture. This unique presentation features the elaborately crafted word pictures of Marian Bantjes, the most inventive and creative typographic illustrator of our time. Whether intricately hand-drawn or using computer illustration software, Bantjes's work crosses the boundaries of time, style, and technology. There is, however, another side to Bantjes's visual work: her thoughtful treatises on art, design, beauty, and popular culture that add a deeper dimension to the decorative nature of her best-known work. These reflections cover the cult of Santa, road-side advertising, photography and memory, the alphabet's letterforms, heraldry, and stars. Bantjes's writing style ranges from the playful to the confrontational, but it is always imbued with perspicacity, insight, and a sense of fun. Intended to inspire creatives of any persuasion, this is more than a collection of ideas: Bantjes has meticulously illustrated every page of the book in her inimitable style to create an accessible work of art that is far greater than the sum of its parts. Quirky, poignant, astute, funny--this beautiful book presents a compelling collection of observations on visual culture and design. In Stefan Sagmeister's telling words, Bantjes's work is his "favorite example of beauty facilitating the communication of meaning." This paperback edition is expanded with a new essay from the author.

WONDER IS NOW A MAJOR MOTION PICTURE STARRING JULIA ROBERTS AND JACOB TREMBLAY! Over 6 million people have read the #1 New York Times bestseller Wonder—the book that inspired the Choose Kind movement—and have fallen in love with Auggie Pullman, an ordinary boy with an extraordinary face. From the very first day Auggie and Julian met in the pages of R. J. Palacio's life-changing book Wonder, it was clear they were never going to be friends, with Julian treating Auggie like he had the plague. And while Wonder told Auggie's story through six different viewpoints, Julian's perspective was never shared. Readers could only guess what he was thinking. Until now. The Julian Chapter will finally reveal the bully's side of the story. Why is Julian so unkind to Auggie? And does he have a chance for redemption?

“An intense snapshot of the chain reaction caused by pulling a trigger.” —Booklist (starred review) “Astonishing.” —Kirkus Reviews (starred review) “A tour de force.” —Publishers Weekly (starred review) A Newbery Honor Book A Coretta Scott King Honor Book A Printz Honor Book A Time Best YA Book of All Time (2021) A Los Angeles Times Book Prize Winner for Young Adult Literature Longlisted for the National Book Award for Young People’s Literature Winner of the Walter Dean Myers Award An Edgar Award Winner for Best Young Adult Fiction Parents’ Choice Gold Award Winner An Entertainment Weekly Best YA Book of 2017 A Vulture Best YA Book of 2017 A Buzzfeed Best YA Book of 2017 An ode to Put the Damn Guns Down, this is New York Times bestselling author Jason Reynolds’s electrifying novel that takes place in sixty potent seconds—the time it takes a kid to decide whether or not he’s going to murder the guy who killed his brother. A cannon. A strap. A piece. A biscuit. A burner. A heater. A chopper. A gat. A hammer A tool for RULE Or, you can call it a gun. That’s what fifteen-year-old Will has shoved in the back waistband of his jeans. See, his brother Shawn was just murdered. And Will knows the rules. No crying. No snitching. Revenge. That’s where Will’s now heading, with that gun shoved in the back waistband of his jeans, the gun that was his brother’s gun. He gets on the elevator, seventh floor, stoked. He knows who he’s after. Or does he? As the elevator stops on the sixth floor, on comes Buck. Buck, Will finds out, is who gave Shawn the gun before Will took the gun. Buck tells Will to check that the gun is even loaded. And that’s when Will sees that one bullet is missing. And the only one who could have fired Shawn’s gun was Shawn. Huh. Will didn’t know that Shawn had ever actually USED his gun. Bigger huh. BUCK IS DEAD. But Buck’s in the elevator? Just as Will’s trying to think this through, the door to the next floor opens. A teenage girl gets on, waves away the smoke from Dead Buck’s cigarette. Will doesn’t know her, but she knew him. Knew. When they were eight. And stray bullets had cut through the playground, and Will had tried to cover her, but she was hit anyway, and so what she wants to know, on that fifth floor elevator stop, is, what if Will, Will with the gun shoved in the back waistband of his jeans, MISSES. And so it goes, the whole long way down, as the elevator stops on each floor, and at each stop someone connected to his brother gets on to give Will a piece to a bigger story than the one he thinks he knows. A story that might never know an END…if Will gets off that elevator. Told in short, fierce staccato narrative verse, Long Way Down is a fast and furious, dazzlingly brilliant look at teenage gun violence, as could only be told by Jason Reynolds.