Rachel is 24, a lapsed Jew who has made calorie restriction her religion. By day, she maintains an illusion of control by way of obsessive food rituals. At night, she pedals nowhere on the elliptical machine. Then Rachel meets Miriam, a young Orthodox-Jewish woman intent upon feeding her. Rachel is suddenly and powerfully entranced by Miriam - by her sundaes and her body, her faith and her family - and as the two grow closer, Rachel embarks on a journey marked by mirrors, mysticism, mothers, milk and honey.

Yumiko Kadota was a young, gifted medical student - the top of her class - on her way to becoming an outstanding plastic and reconstructive surgeon. Fourteen years she'd studied and worked hard. She put in 70-hour weeks at the public hospital as a plastic surgery registrar, accepted everything her superiors threw at her because that's what you do to get on, right? Her life revolved around her work, but it was okay because it would all amount to a stellar, dream career down the track. In 2018, she walked away from it all. 

I'm still trying to make the dream possible: still might finish my cleaning project, still might sign up for that yoga class, still might, still might. I step into the shower and almost faint, an image of taking the day by the throat and bashing its head against the wall floating in my mind. Thirty-year-old Millie just can't pull it together. Misanthropic and morose, she spends her days killing time at a thankless temp job until she can return home to her empty apartment, where she oscillates wildly between self-recrimination and mild delusion....

It’s the year 2000 in a city aglitter with wealth and possibility; what could be so terribly wrong? Our narrator has many of the advantages of life: young, thin, pretty, a recent Columbia graduate, she lives in an apartment on the Upper East Side of Manhattan paid for, like everything else, by her inheritance. But there is a vacuum at the heart of things, and it isn’t just the loss of her parents in college, or the way her Wall Street boyfriend treats her, or her sadomasochistic relationship with her alleged best friend.

Giovanna’s pretty face is changing, turning ugly, at least so her father thinks. Giovanna, he says, is looking more like her Aunt Vittoria every day. But can it be true? Is she really changing? Will she turn out like her despised Aunt Vittoria, a woman she hardly knows but whom her mother and father have spent their whole lives avoiding and deriding? There must be a mirror somewhere in which she can see herself as she truly is. 

Almost everything about Wallace is at odds with the Midwestern university town where he is working uneasily toward a biochem degree. An introverted young man from Alabama, Black and queer, he has left behind his family without escaping the long shadows of his childhood. For reasons of self-preservation, Wallace has enforced a wary distance even within his own circle of friends - some dating each other, some dating women, some feigning straightness.

A Signature Performance: Kenneth Branagh plays this like a campfire ghost story, told by a haunted, slightly insane Marlow.

Ava, newly arrived in Hong Kong from Dublin, spends her days teaching English to rich children. Julian is a banker. A banker who likes to spend money on Ava, to have sex and discuss fluctuating currencies with her. But when she asks whether he loves her, he cannot say more than 'I like you a great deal'. Enter Edith, a lawyer. Refreshingly enthusiastic and unapologetically earnest, Edith takes Ava to the theatre when Julian leaves Hong Kong for work. Quickly, she becomes something Ava looks forward to. And then Julian writes to tell Ava he is coming back to Hong Kong....

The Christmas season offers little cheer for Eileen Dunlop, an unassuming yet disturbed young woman, trapped between her role as her alcoholic father's carer and her day job as a secretary at the prison. When the charismatic Rebecca Saint John arrives as the new counsellor at the prison, Eileen is enchanted and unable to resist what appears to be a miraculously budding friendship.

When Emira is apprehended at a supermarket for ‘kidnapping’ the white child she’s actually babysitting, it sets off an explosive chain of events. Her employer Alix, a feminist blogger with the best of intentions, resolves to make things right. But Emira herself is aimless, broke and wary of Alix’s desire to help. When a surprising connection emerges between the two women, it sends them on a crash course that will upend everything they think they know – about themselves, each other and the messy dynamics of privilege.

If you haven't already heard of Samantha Irby...where have you been? Samantha Irby is your sharp-tongued best friend who can't help but tell it like it is. In We Are Never Meeting in Real Life, Irby laughs her way through her ridiculous life of failed relationships, taco feasts, bouts with Crohn's disease and more. Written with scathing wit and poignant bluntness, these essays have earned Irby a dedicated fan base, have sold over 100,000 copies in the US and are the perfect introduction to this fresh, bold voice.

We are living in the era of the self, in an era of malleable truth and widespread personal and political delusion. In these nine interlinked essays, Jia Tolentino, the New Yorker’s brightest young talent, explores her own coming of age in this warped and confusing landscape. 

On Earth We're Briefly Gorgeous is a letter from a son to a mother who cannot read. Written when the speaker, Little Dog, is in his late 20s, the letter unearths a family's history that began before he was born - a history whose epicentre is rooted in Vietnam - and serves as a doorway into parts of his life his mother has never known, all of it leading to an unforgettable revelation. At once a witness to the fraught yet undeniable love between a single mother and her son, it is also a brutally honest exploration of race, class and masculinity. 

The Vignes twin sisters will always be identical. But after growing up together in a small, Southern black community and running away at age 16, it's not just the shape of their daily lives that is different as adults, it's everything: their families, their communities, their racial identities. Ten years later, one sister lives with her black daughter in the same Southern town she once tried to escape. The other secretly passes for white and her white husband knows nothing of her past.

Samantha Heather Mackey couldn't be more of an outsider in her small, highly selective MFA program at New England's Warren University. A scholarship student who prefers the company of her dark imagination to that of most people, she is utterly repelled by the rest of her fiction writing cohort - a clique of unbearably twee rich girls who call each other 'Bunny' and are often found entangled in a group hug so tight they become one.