Never Again

End of Days is the explosive conclusion to Susan Ee’s bestselling Penryn & the End of Days trilogy. After a daring escape from the angels, Penryn and Raffe are on the run. They’re both desperate to find a doctor who can reverse the twisted changes inflicted by the angels on Raffe and Penryn’s sister. As they set off in search of answers, a startling revelation about Raffe’s past unleashes dark forces that threaten them all. When the angels release an apocalyptic nightmare onto humans, both sides are set on a path toward war. As unlikely alliances form and strategies shift, who will emerge victorious? Forced to pick sides in the fight for control of the earthly realm, Raffe and Penryn must choose: Their own kind, or each other?

Debut author Sally Thorne bursts on the scene with a hilarious and sexy workplace comedy all about that thin, fine line between hate and love. Nemesis (n.) 1) An opponent or rival whom a person cannot best or overcome. 2) A person’s undoing 3) Joshua Templeman Lucy Hutton has always been certain that the nice girl can get the corner office. She’s charming and accommodating and prides herself on being loved by everyone at Bexley & Gamin. Everyone except for coldly efficient, impeccably attired, physically intimidating Joshua Templeman. And the feeling is mutual. Trapped in a shared office together 40 (OK, 50 or 60) hours a week, they’ve become entrenched in an addictive, ridiculous never-ending game of one-upmanship. There’s the Staring Game. The Mirror Game. The HR Game. Lucy can’t let Joshua beat her at anything—especially when a huge new promotion goes up for the taking. If Lucy wins this game, she’ll be Joshua’s boss. If she loses, she’ll resign. So why is she suddenly having steamy dreams about Joshua, and dressing for work like she’s got a hot date? After a perfectly innocent elevator ride ends with an earth shattering kiss, Lucy starts to wonder whether she’s got Joshua Templeman all wrong. Maybe Lucy Hutton doesn’t hate Joshua Templeman. And maybe, he doesn’t hate her either. Or maybe this is just another game. ​​

When the van door slammed on Offred's future at the end of The Handmaid's Tale, readers had no way of telling what lay ahead for her—freedom, prison or death. With The Testaments, the wait is over. Margaret Atwood's sequel picks up the story more than fifteen years after Offred stepped into the unknown, with the explosive testaments of three female narrators from Gilead. In this brilliant sequel to The Handmaid's Tale, acclaimed author Margaret Atwood answers the questions that have tantalized readers for decades. "Dear Readers: Everything you've ever asked me about Gilead and its inner workings is the inspiration for this book. Well, almost everything! The other inspiration is the world we've been living in." —Margaret Atwood An alternate cover edition of ISBN 978-0385543781 can be found here.

Tiffy and Leon share a flat Tiffy and Leon share a bed Tiffy and Leon have never met… Tiffy Moore needs a cheap flat, and fast. Leon Twomey works nights and needs cash. Their friends think they’re crazy, but it’s the perfect solution: Leon occupies the one-bed flat while Tiffy’s at work in the day, and she has the run of the place the rest of the time. But with obsessive ex-boyfriends, demanding clients at work, wrongly imprisoned brothers and, of course, the fact that they still haven’t met yet, they’re about to discover that if you want the perfect home you need to throw the rulebook out the window…

Edgar Allan Poe is known as the forefather of suspense and modern crime fiction. For the first time ever, Darkness There showcases some of his most famous tales with stunning digital illustrations. Each story explores a different twist of madness, murder, and melancholy, from the horror of being buried alive in “The Fall of the House of Usher” to the desperate case of two gruesome killings in “The Murders in the Rue Morgue.” The heartbeat of paranoia in “The Tell-Tale Heart,” the razor-sharp claustrophobia in “The Pit and the Pendulum,” and a mourner’s torment in “The Raven” reveal—and revel in—life’s creepiest and craziest. These tales are not for the faint of heart or the thin of skin.

Irina obsessively takes explicit photographs of the average-looking men she persuades to model for her, scouted from the streets of Newcastle. Placed on sabbatical from her dead-end bar job, she is offered an exhibition at a fashionable London gallery, promising to revive her career in the art world and offering an escape from her rut of drugs, alcohol, and extreme cinema. The news triggers a self-destructive tailspin, centred around Irina’s relationship with her obsessive best friend, and a shy young man from her local supermarket who has attracted her attention… Boy Parts is the incendiary debut novel from Eliza Clark, a pitch-black comedy both shocking and hilarious, fearlessly exploring the taboo regions of sexuality and gender roles in the twenty-first century.

Sometimes it is the one who loves you who hurts you the most. Lily hasn’t always had it easy, but that’s never stopped her from working hard for the life she wants. She’s come a long way from the small town in Maine where she grew up—she graduated from college, moved to Boston, and started her own business. So when she feels a spark with a gorgeous neurosurgeon named Ryle Kincaid, everything in Lily’s life suddenly seems almost too good to be true. Ryle is assertive, stubborn, maybe even a little arrogant. He’s also sensitive, brilliant, and has a total soft spot for Lily. And the way he looks in scrubs certainly doesn’t hurt. Lily can’t get him out of her head. But Ryle’s complete aversion to relationships is disturbing. Even as Lily finds herself becoming the exception to his “no dating” rule, she can’t help but wonder what made him that way in the first place. As questions about her new relationship overwhelm her, so do thoughts of Atlas Corrigan—her first love and a link to the past she left behind. He was her kindred spirit, her protector. When Atlas suddenly reappears, everything Lily has built with Ryle is threatened.

In 1930s Paris, where one cheap hotel room is very much like another, a young woman is teaching herself indifference. She has escaped personal tragedy and has come to France to find courage and seek independence. She tells herself to expect nothing, especially not kindness, least of all from men. Tomorrow, she resolves, she will dye her hair blonde.