Hum is an extraordinary novel by the National Book Award–longlisted author Helen Phillips. It tells the story of a wife and mother named May, who, after losing her job to artificial intelligence, undergoes a radical procedure that makes her invisible to surveillance systems.

Set in a city ravaged by climate change and inhabited by intelligent robots known as 'hums,' May's decision to alter her face to escape detection is driven by desperation to clear her family's debt and secure their future. The narrative follows her as she invests in a brief escape to the Botanical Garden, a sanctuary of natural beauty, hoping it will heal her family's reliance on technology.

However, the supposed tranquility is short-lived as her family's safety is compromised, pushing May to rely on a hum with dubious intentions. Hum is a riveting work of speculative fiction, examining themes of marriage, motherhood, and identity against a backdrop of environmental decay and rapid technological progress. It presents a world filled with both dystopian and utopian elements, compelling readers to confront the unsettling realities of our times.

The Wedding People is a propulsive and uncommonly wise novel about one unexpected wedding guest and the surprising people who help her start anew.

It’s a beautiful day in Newport, Rhode Island, when Phoebe Stone arrives at the grand Cornwall Inn wearing a green dress and gold heels, not a bag in sight, alone. She's immediately mistaken by everyone in the lobby for one of the wedding people, but she’s actually the only guest at the Cornwall who isn’t here for the big event. Phoebe is here because she’s dreamed of coming for years—she hoped to shuck oysters and take sunset sails with her husband, only now she’s here without him, at rock bottom, and determined to have one last decadent splurge on herself.

Meanwhile, the bride has accounted for every detail and every possible disaster the weekend might yield except for, well, Phoebe and Phoebe's plan—which makes it that much more surprising when the two women can’t stop confiding in each other. In turns absurdly funny and devastatingly tender, Alison Espach’s The Wedding People is ultimately an incredibly nuanced and resonant look at the winding paths we can take to places we never imagined—and the chance encounters it sometimes takes to reroute us.

From the New York Times bestselling author of Long Bright River, an immersive, propulsive novel about a missing child whose disappearance sends shockwaves through three very different worlds—an opulent Adirondack summer estate, the rustic teen summer camp that operates in its shadow, and the blue-collar community that serves them both.

When Barbara Van Laar is discovered missing from her summer camp bunk one morning in August 1975, it triggers a panicked, terrified search. Losing a camper is a horrific tragedy under any circumstances, but Barbara isn't just any camper; she's the daughter of the wealthy family that owns the camp—as well as the opulent nearby estate and most of the land in sight. And this isn't the first time a Van Laar child has disappeared in this region: Barbara's older brother also went missing fourteen years ago, never to be found. How could this have happened yet again?

Liz Moore weaves a richly textured drama, both emotionally nuanced and propelled by a double-barreled mystery. The God of the Woods is a story of love, inheritance, identity, and second chances, a thrillingly layered drama about the tensions between a family and a community, and a history of secrets that will not let any of them go.

A triumphant family story and sharply observed exploration of privilege, identity, and love in all its forms, following four estranged siblings whose lives collide in the lead-up to a family wedding, when new clues surface about their long-missing father.

April, May, June, and July Barber don’t have much in common anymore. An upcoming family wedding will place the four siblings in the same room for the first time in years. But shortly before, when April spots their father, who went missing while serving overseas a decade ago, their reunion becomes entirely more complicated.

While the siblings’ search for the truth about their father forces them back into each other’s lives, it also intensifies their private dramas. April loves her husband, but seeks excitement outside their marriage. May had big dreams for the future, but she’s still stuck living at home. June is eager to marry her girlfriend, so why does she need a drink at every wedding-related event? And then there’s baby brother July, whose unrequited love for his straight roommate has him more confused than ever.

Confronting the past together, April, May, June, and July will find not only answers about their father, but new romance, hope, and understanding as they learn to embrace the beauty of their shared history.

Welcome to The Ministry of Time, the exhilarating debut novel by Kailane Bradley. This book is a time travel romance, a speculative spy thriller, a workplace comedy, and an ingeniously constructed exploration of the nature of truth and power. It is also a story about the potential for love to change it all.

In the near future, a civil servant is offered the salary of her dreams. Shortly afterward, she is told about the project she'll be working on: a recently established government ministry is gathering "expats" from across history to establish whether time travel is feasible—for the body, but also for the fabric of space-time. She is tasked with working as a "bridge": living with, assisting, and monitoring the expat known as "1847" or Commander Graham Gore. As far as history is concerned, Commander Gore died on Sir John Franklin's doomed 1845 expedition to the Arctic, so he's a little disoriented to be living with an unmarried woman who regularly shows her calves, surrounded by concepts such as "washing machine," "Spotify," and "the collapse of the British Empire." But he adjusts quickly; after all, he is an explorer by trade. Soon, what the bridge initially thought would be a seriously uncomfortable housemate dynamic, evolves into something much more. Over the course of an unprecedented year, the bridge will be forced to confront the past that shaped her choices, and the choices that will shape the future.

An exquisitely original and feverishly fun fusion of genres and ideas, The Ministry of Time asks the universal question: What happens if you put a disaffected millennial and a Victorian polar explorer in a house together?

Why grassroots data activists in Latin America count feminicide—and how this vital social justice work challenges mainstream data science. What isn’t counted doesn’t count. And mainstream institutions systematically fail to account for feminicide, the gender-related killing of women and girls, including cisgender and transgender women.

Against this failure, Counting Feminicide brings to the fore the work of data activists across the Americas who are documenting such murders—and challenging the reigning logic of data science by centering care, memory, and justice in their work. Drawing on Data Against Feminicide, a large-scale collaborative research project, Catherine D’Ignazio describes the creative, intellectual, and emotional labor of feminicide data activists who are at the forefront of a data ethics that rigorously and consistently takes power and people into account.

Individuals, researchers, and journalists—these data activists scour news sources to assemble spreadsheets and databases of women killed by gender-related violence, then circulate those data in a variety of creative and political forms. Their work reveals the potential of restorative/transformative data science—the use of systematic information to, first, heal communities from the violence and trauma produced by structural inequality and, second, envision and work toward the world in which such violence has been eliminated.

Specifically, D’Ignazio explores the possibilities and limitations of counting and quantification—reducing complex social phenomena to convenient, sortable, aggregable forms—when the goal is nothing short of the elimination of gender-related violence. Counting Feminicide showcases the incredible power of data feminism in practice, in which each murdered woman or girl counts, and, in being counted, joins a collective demand for the restoration of rights and a transformation of the gendered order of the world.

James, by Percival Everett, is a brilliant and action-packed reimagining of The Adventures of Huckleberry Finn, told from the perspective of the enslaved character Jim. This novel is both harrowing and ferociously funny, showcasing Jim's agency, intelligence, and compassion in a radically new light.

When Jim overhears that he is about to be sold and separated from his wife and daughter, he decides to hide on Jackson Island to plan his next move. Meanwhile, Huck Finn, seeking to escape his violent father, fakes his own death. Together, they embark on a dangerous and transcendent journey down the Mississippi River, facing floods, storms, and scam artists, all while navigating the promise and peril of the Free States and beyond.

With electrifying humor and lacerating observations, James is set to be a major publishing event, redefining a cornerstone of twenty-first century American literature.

Martyr! by Kaveh Akbar is an electrifying, funny, and wholly original novel that heralds the arrival of an essential new voice in contemporary fiction. The story follows Cyrus Shams, a newly sober, orphaned son of Iranian immigrants, who is guided by the voices of artists, poets, and kings on a remarkable search for a family secret. This journey leads him to a terminally ill painter living out her final days in the Brooklyn Museum.

Cyrus grapples with an inheritance of violence and loss: his mother's plane was shot down over the skies of the Persian Gulf in a senseless accident, and his father's life in America was circumscribed by his work at a factory farm. As a drunk, an addict, and a poet, Cyrus's obsession with martyrs drives him to examine the mysteries of his past—toward an uncle who rode through Iranian battlefields dressed as the angel of death and toward his mother, through a painting that suggests she may not have been who or what she seemed.

Martyr! is a paean to how we spend our lives seeking meaning—in faith, art, ourselves, and others.