A woman reporter in a Latin American country and a photographer are sent on a routine assignment. The two uncover a hideous crime, the revelation of which could challenge the terrorism of the military regime.

Controversy erupts in Miracle Springs, North Carolina, when the owner of the local bookstore tries to play peacekeeper—but winds up playing detective instead . . . Known for her window displays, Nora Pennington decides to showcase fictional heroines like Roald Dahl’s Matilda and Madeline Miller’s Circe for Halloween. But a family-values group disapproves of the magical themes and wastes no time launching a modern-day witch hunt. Suddenly, former friends and customers are targeting not only Nora and Miracle Books, but a new shopkeeper, Celeste, who’s been selling CBD oil products. Nora and her friends in the Secret, Book, and Scone Society are doing their best to put an end to the strife—but then someone puts an end to a life. Declared an accident, the ruling can’t explain the old book page covered with strange symbols and disturbing drawings left under Nora’s doormat. It’s up to Nora and the Secret, Book, and Scone Society to sort out the clues before more bodies turn up and the secrets from Celeste’s past come back to haunt them all . . . “Entertaining . . . packed with mystery, romance, and sisterhood.” —Kirkus Reviews

Screenwriter and acclaimed film critic C. Robert Cargill makes his fiction debut with Dreams and Shadows, taking beloved fantasy tropes, giving them a twist, and turning out a wonderful, witty, and wry take on clash between the fairy world and our own. Something is missing from Ewan and Colby’s lives. Residing in the corners of their memories is their time in Limestone Kingdom, a realm filled with magic and mystery, a world where only some may travel amongst the menagerie of mystical souls and sinister demons. Cargill offers well-crafted characters and an absorbing, intricate plot that will appeal to fans of Neil Gaiman and Lev Grossman. Dreams and Shadows pulls you into an extraordinary universe of darkness that exposes the magic and monsters in our world, and in ourselves.

The third in Gilbert Hernandez’s line of original hardcovers featuring Love and Rockets’ “Fritz” in her guise as a Z-movie actress (the first two were Chance in Hell and The Troublemakers) is a trippy thriller that stars Fritz in no fewer than three roles. A beautiful waitress (Fritz, of course) and her hospital nurse brother (also Fritz) visit their estranged father, a once successful but now retired writer (amazingly enough, also Fritz), in order to find out the true reason why their mother committed suicide. When dad’s health fails, the siblings are then more concerned with the money he might leave them. The story weaves in and out of reality and hallucination and possibly back in forth in time, and to complicate things further, the sister is sexually obsessed with a mysterious man throughout the tale ― or is it her brother (at one point posing as his sister so that he might gain his and her inheritance) that is so hot and bothered by this mystery stud? And that’s only the tip of the iceberg.

Three kingdoms. One man. A destiny written in blood. An epic fantasy series begins . . .Seemingly always the outsider, Gavril Andar - an impoverished young painter - yearns to join the privileged circles of Muscobar polite society. However, unknownto him, he does have royal blood in his veins: the dark and powerful blood of a father he never knew.

The Latin American Literary Boom was marked by complex novels steeped in magical realism and questions of nationalism, often with themes of surreal violence. In recent years, however, those revolutionary projects of the sixties and seventies have given way to quite a different narrative vision and ideology. Dubbed the new sentimentalism, this trend is now keenly elucidated in Love and Politics in the Contemporary Spanish American Novel. Offering a rich account of the rise of this new mode, as well as its political and cultural implications, Aníbal González delivers a close reading of novels by Miguel Barnet, Elena Poniatowska, Isabel Allende, Alfredo Bryce Echenique, Gabriel García Márquez, Antonio Skármeta, Luis Rafael Sánchez, and others. González proposes that new sentimental novels are inspired principally by a desire to heal the division, rancor, and fear produced by decades of social and political upheaval. Valuing pop culture above the avant-garde, such works also tend to celebrate agape—the love of one's neighbor—while denouncing the negative effects of passion (eros). Illuminating these and other aspects of post-Boom prose, Love and Politics in the Contemporary Spanish American Novel takes a fresh look at contemporary works.