A dinosaur detective in the land of unwanted ideas battles trauma, anxiety, and the first serial killer of imaginary friends. Most ideas fade away when we’re done with them. Some we love enough to become Real. But what about the ones we love, and walk away from? Tippy the triceratops was once a little girl’s imaginary friend, a dinosaur detective who could help her make sense of the world. But when her father died, Tippy fell into the Stillreal, the underbelly of the Imagination, where discarded ideas go when they’re too Real to disappear. Now, he passes time doing detective work for other unwanted ideas – until Tippy runs into The Man in the Coat, a nightmare monster who can do the impossible: kill an idea permanently. Now Tippy must overcome his own trauma and solve the case, before there’s nothing left but imaginary corpses. File Unders: Fantasy [ Fuzzy Fiends | Death to Imagination | Hardboiled but Sweet | Not Barney ]

An NYRB Classics Original Winner of the 2014 PEN Translation Prize Winner of the 2014 Read Russia Prize The stakes are wildly high in Sigizmund Krzhizhanovsky’s fantastic and blackly comic philosophical fables, which abound in nested narratives and wild paradoxes. This new collection of eleven mind-bending and spellbinding tales includes some of Krzhizhanovsky’s most dazzling conceits: a provincial journalist who moves to Moscow finds his existence consumed by the autobiography of his room’s previous occupant; the fingers of a celebrated pianist’s right hand run away to spend a night alone on the city streets; a man’s lifelong quest to bite his own elbow inspires both a hugely popular circus act and a new refutation of Kant. Ordinary reality cracks open before our eyes in the pages of Autobiography of a Corpse, and the extraordinary spills out.

Instant New York Times Bestseller One of Fall 2019's Best Books (People, EW, Lithub, Vox, Washington Post, and more) A young boy is haunted by a voice in his head in this acclaimed epic of literary horror from the author of The Perks of Being a Wallflower. Christopher is seven years old.Christopher is the new kid in town.Christopher has an imaginary friend. We can swallow our fear or let our fear swallow us. Single mother Kate Reese is on the run. Determined to improve life for her and her son, Christopher, she flees an abusive relationship in the middle of the night with her child. Together, they find themselves drawn to the tight-knit community of Mill Grove, Pennsylvania. It's as far off the beaten track as they can get. Just one highway in, one highway out. At first, it seems like the perfect place to finally settle down. Then Christopher vanishes. For six long days, no one can find him. Until Christopher emerges from the woods at the edge of town, unharmed but not unchanged. He returns with a voice in his head only he can hear, with a mission only he can complete: Build a treehouse in the woods by Christmas, or his mother and everyone in the town will never be the same again. Twenty years ago, Stephen Chbosky's The Perks of Being a Wallflower made readers everywhere feel infinite. Now, Chbosky has returned with an epic work of literary horror, years in the making, whose grand scale and rich emotion redefine the genre. Read it with the lights on.

How can we understand the infinite variety of cities? Darran Anderson seems to exhaust all possibilities in this work of creative nonfiction. Drawing inspiration from Marco Polo and Italo Calvino, Anderson shows that we have much to learn about ourselves by looking not only at the cities we have built, but also at the cities we have imagined. Anderson draws on literature (Gustav Meyrink, Franz Kafka, Jaroslav Hasek, and James Joyce), but he also looks at architectural writings and works by the likes of Bruno Taut and Walter Gropius, Medieval travel memoirs from the Middle East, mid-twentieth-century comic books, Star Trek, mythical lands such as Cockaigne, and the works of Claude Debussy. Anderson sees the visionary architecture dreamed up by architects, artists, philosophers, writers, and citizens as wedded to the egalitarian sense that cities are for everyone. He proves that we must not be locked into the structures that exclude ordinary citizens--that cities evolve and that we can have input. As he says: "If a city can be imagined into being, it can be re-imagined as well.”

Chloe's older sister, Ruby, is the girl everyone looks to and longs for, who can't be captured or caged. When a night with Ruby's friends goes horribly wrong and Chloe discovers the dead body of her classmate London Hayes left floating in the reservoir, Chloe is sent away from town and away from Ruby. But Ruby will do anything to get her sister back, and when Chloe returns to town two years later, deadly surprises await. As Chloe flirts with the truth that Ruby has hidden deeply away, the fragile line between life and death is redrawn by the complex bonds of sisterhood. With palpable drama and delicious craft, Nova Ren Suma bursts onto the YA scene with the story that everyone will be talking about.

In the twelfth book in an acclaimed series, retired Amsterdam policeman Henk Grijpstra gets a frantic telephone call from his old partner, Rinus de Gier, who thinks he may have killed his girlfriend. He is being blackmailed and can’t remember if he did it; he was just too drunk. But if he did, where is the corpse? Would his old partner please fly over to the US at once? Urged on by their former superior officer, the commissaris, Grijpstra grudgingly travels to Maine to rescue his partner and to confront his own demons as well as de Gier’s.

A blistering debut that does for the Iraqi perspective on the wars in Iraq and Afghanistan what Phil Klay’s Redeployment does for the American perspective “[A] wonderful collection.” —George Saunders, The New York Times Book Review The first major literary work about the Iraq War from an Iraqi perspective—by an explosive new voice hailed as “perhaps the best writer of Arabic fiction alive” (The Guardian)—The Corpse Exhibition shows us the war as we have never seen it before. Here is a world not only of soldiers and assassins, hostages and car bombers, refugees and terrorists, but also of madmen and prophets, angels and djinni, sorcerers and spirits. Blending shocking realism with flights of fantasy, The Corpse Exhibition offers us a pageant of horrors, as haunting as the photos of Abu Ghraib and as difficult to look away from, but shot through with a gallows humor that yields an unflinching comedy of the macabre. Gripping and hallucinatory, this is a new kind of storytelling forged in the crucible of war.