As a child, Natsuki doesn’t fit into her family. Her parents favor her sister, and her best friend is a plush toy hedgehog named Piyyut who has explained to her that he has come from the planet Popinpobopia on a special quest to help her save the Earth.

Working at the local processing plant, Marcos is in the business of slaughtering humans - though no one calls them that anymore. His wife has left him, his father is sinking into dementia, and Marcos tries not to think too hard about how he makes a living. After all, it happened so quickly. First, it was reported that an infectious virus has made all animal meat poisonous to humans. Then governments initiated the "Transition". Now, eating human meat - "special meat" - is legal. Marcos tries to stick to numbers, consignments, processing.

A young woman walks into an employment agency and requests a job that has the following traits: It’s close to her home, and it requires no reading, no writing, and, ideally, very little thinking. Her first gig - watching the hidden-camera feed of an author suspected of storing contraband goods - turns out to be inconvenient. Her next gives way to the supernatural: announcing advertisements for shops that mysteriously disappear. As she moves from job to job, it becomes increasingly apparent that she's not searching for the easiest job at all but something altogether more meaningful.

Tokyo resident Keiko Furukara has never fit in - neither in her family, nor in school - but when at the age of 18 she begins working at the Hiiromachi branch of national convenience store chain Smile Mart, she realizes instantly that she has found her purpose in life. Delighted to be able to exist in a place where the rules of social interaction are crystal clear (many are laid out line-by-line in the store's manual), Keiko does her best to copy the dress, mannerisms, and mode of speech of her colleagues, playing the part of a "normal" person excellently, more or less.

Tsukiko, 38, works in an office and lives alone. One night, she happens to meet one of her former high school teachers, "Sensei", in a local bar. Tsukiko had only ever called him "Sensei" ("Teacher"). He is 30 years her senior, retired, and presumably a widower. Their relationship develops from a perfunctory acknowledgment of each other as they eat and drink alone at the bar, to a hesitant intimacy, which tilts awkwardly and poignantly into love.

Little Marek, the abused and delusional son of the village shepherd, believes his mother died giving birth to him. One of Marek’s few consola­tions is his enduring bond with the blind village midwife, Ina, who suckled him when he was a baby. For some people, Ina’s ability to receive trans­missions of sacred knowledge from the natural world is a godsend. For others, Ina’s home in the woods is a godless place.

Mikage is an orphan raised by her grandmother, who has passed away. Grieving, Mikage is taken in by her friend, Yoichi, and his mother (who is really his cross-dressing father), Eriko. As the three of them form an improvised family that soon weathers its own tragic losses, Yoshimoto spins a lovely, evocative tale with the kitchen and the comforts of home at its heart.

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....

Eat Pray Love meets American Psycho in a seductive and sinister debut literary thriller. Food critic Dorothy Daniels indulges in her homicidal urges by murdering her lovers and devouring their organs in this intense, visceral, and lushly told tale of food, sex, power, and the pursuit of a very particular taste set between New York and Italy. Please Note: A Certain Hunger contains adult language and depictions of violence. Discretion is advised.

Sentaro has failed. He has a criminal record, drinks too much, and his dream of becoming a writer is just a distant memory. With only the blossoming of the cherry trees to mark the passing of time, he spends his days in a tiny confectionery shop selling dorayaki, a type of pancake filled with sweet bean paste. Into his life comes Tokue, an elderly woman with disfigured hands and a troubled past. Tokue makes the best sweet bean paste Sentaro has ever tasted. She begins to teach him her craft, but as their friendship flourishes, social pressures become impossible to escape.

What would you do if you could travel back in time? Discover the internationally bestselling novels of Toshikazu Kawaguchi’s Before the Coffee Gets Cold series, now a worldwide phenomenon and BookTok sensation, in this special new book set. Step inside Tokyo’s whimsical Café Funiculi Funicula and travel back in time with a cast of unforgettable characters.

Yunjae was born with a brain condition called alexithymia that makes it hard for him to feel emotions like fear or anger. He does not have friends - the two almond-shaped neurons located deep in his brain have seen to that - but his devoted mother and grandmother aren’t fazed by his condition. Their little home above his mother’s used bookstore is decorated with colorful Post-it notes that remind him when to smile, when to say "thank you", and when to laugh. Yunjae grows up content, even happy, with his small family in this quiet, peaceful space.

From an author never before published in the United States, Cursed Bunny is unique and imaginative, blending horror, sci-fi, fairytales, and speculative fiction into stories that defy categorization. By turns thought-provoking and stomach-turning, here monsters take the shapes of furry woodland creatures and danger lurks in unexpected corners of everyday apartment buildings. But in this unforgettable collection, translated by the acclaimed Anton Hur, Chung’s absurd, haunting universe could be our own, illuminating the ills of contemporary society.

Yoshie's much-loved musician father died in a suicide pact with an unknown woman. It is only when Yoshie and her mother move to Shimokitazawa, a traditional Tokyo neighborhood of narrow streets, quirky shops, and friendly residents, that they can finally start to put their painful past behind them. However, despite their attempts to move forward, Yoshie is haunted by nightmares in which her father is looking for the phone he left behind on the day he died, or on which she is trying—unsuccessfully—to call him. Is her dead father trying to communicate a message through these dreams?

In suburban Indiana we meet Lina, the homemaker and mother of two whose marriage, after a decade, has lost its passion. Starved for affection, Lina battles daily panic attacks and, after reconnecting with an old flame through social media, embarks on an affair that quickly becomes all-consuming. In North Dakota we meet Maggie, the 17-year-old high school student who allegedly has a clandestine physical relationship with her handsome, married English teacher; the ensuing criminal trial will turn their quiet community upside down.

Tokyo resident Keiko Furukara has never fit in - neither in her family, nor in school - but when at the age of 18 she begins working at the Hiiromachi branch of national convenience store chain Smile Mart, she realizes instantly that she has found her purpose in life. Delighted to be able to exist in a place where the rules of social interaction are crystal clear (many are laid out line-by-line in the store's manual), Keiko does her best to copy the dress, mannerisms, and mode of speech of her colleagues, playing the part of a "normal" person excellently, more or less.

As a child, Natsuki doesn’t fit into her family. Her parents favor her sister, and her best friend is a plush toy hedgehog named Piyyut who has explained to her that he has come from the planet Popinpobopia on a special quest to help her save the Earth.

Tsukiko, 38, works in an office and lives alone. One night, she happens to meet one of her former high school teachers, "Sensei", in a local bar. Tsukiko had only ever called him "Sensei" ("Teacher"). He is 30 years her senior, retired, and presumably a widower. Their relationship develops from a perfunctory acknowledgment of each other as they eat and drink alone at the bar, to a hesitant intimacy, which tilts awkwardly and poignantly into love.

As a girl, Amane realizes with horror that her parents “copulated” in order to bring her into the world, rather than using artificial insemination, which became the norm in the mid-twentieth century. Amane strives to get away from what she considers an indoctrination in this strange “system” by her mother, but her infatuations with both anime characters and real people have a sexual force that is undeniable.

A young woman walks into an employment agency and requests a job that has the following traits: It’s close to her home, and it requires no reading, no writing, and, ideally, very little thinking. Her first gig - watching the hidden-camera feed of an author suspected of storing contraband goods - turns out to be inconvenient. Her next gives way to the supernatural: announcing advertisements for shops that mysteriously disappear. As she moves from job to job, it becomes increasingly apparent that she's not searching for the easiest job at all but something altogether more meaningful.

Objects for sale at the Nakano Thrift Shop appear as commonplace as the staff and customers that handle them. But like those same customers and staff, they hold many secrets. If examined carefully, they show the signs of innumerable extravagancies, of immeasurable pleasure and pain, and of the deep mysteries of the human heart.

Yoshie's much-loved musician father died in a suicide pact with an unknown woman. It is only when Yoshie and her mother move to Shimokitazawa, a traditional Tokyo neighborhood of narrow streets, quirky shops, and friendly residents, that they can finally start to put their painful past behind them. However, despite their attempts to move forward, Yoshie is haunted by nightmares in which her father is looking for the phone he left behind on the day he died, or on which she is trying—unsuccessfully—to call him. Is her dead father trying to communicate a message through these dreams?

When thirty-four-year-old Ms. Shibata gets a new job to escape sexual harassment at her old one, she finds that as the only woman at her new workplace—a manufacturer of cardboard tubes—she is expected to do all the menial tasks. One day she announces that she can’t clear away her coworkers’ dirty cups—because she’s pregnant and the smell nauseates her. Except Ms. Shibata is not pregnant. But she has a nine-month ruse to keep up. Before long, it becomes all-absorbing, and with every stage of her “pregnancy,” the boundary between her lie and her life begins to dissolve.

Yuki Hirano is just out of high school when his parents enroll him, against his will, in a forestry training program in the remote mountain village of Kamusari. No phone, no internet, no shopping. Just a small, inviting community where the most common expression is “take it easy.” At first, Yuki is exhausted, fumbles with the tools, asks silly questions, and feels like an outcast. Kamusari is the last place a city boy from Yokohama wants to spend a year of his life. But as resistant as he might be, the scent of the cedars and the staggering beauty of the region have a pull.

Kazu is dead. Born in Fukushima in 1933, the same year as the Japanese emperor, his life is tied by a series of coincidences to the Imperial family and has been shaped at every turn by modern Japanese history. But his life story is also marked by bad luck, and now, in death, he is unable to rest, doomed to haunt the park near Ueno Station in Tokyo.

From Eliza Clark, the author of the brilliant novels Boy Parts and Penance and one of Granta’s Best Young British Novelists, comes a fierce, visionary and darkly comic story collection. A woman welcomes a parasite into her body. A teenager longs for perfect skin. A scientist tends to fragile alien flora. A young man takes the night into his own hands. Unsettling, revelatory, and laced with her signature dark humor, Eliza Clark’s debut short story collection plumbs the depths of that most basic human feeling: hunger.

Sentaro has failed. He has a criminal record, drinks too much, and his dream of becoming a writer is just a distant memory. With only the blossoming of the cherry trees to mark the passing of time, he spends his days in a tiny confectionery shop selling dorayaki, a type of pancake filled with sweet bean paste. Into his life comes Tokue, an elderly woman with disfigured hands and a troubled past. Tokue makes the best sweet bean paste Sentaro has ever tasted. She begins to teach him her craft, but as their friendship flourishes, social pressures become impossible to escape.

On a beach in a run-down seaside town on the Yorkshire coastline, sixteen-year-old Joan Wilson is set on fire by three other schoolgirls. Nearly a decade after the horrifying murder, journalist Alec Z. Carelli has written the definitive account of the crime, drawn from hours of interviews with witnesses and family members, painstaking historical research, and most notably, correspondence with the killers themselves. The result is a riveting snapshot of lives rocked by tragedy, and a town left in turmoil.

In the spring of 1972, twelve-year-old Tomoko leaves her mother behind in Tokyo and boards a train alone for Ashiya, a coastal town in Japan, to stay with her aunt’s family. Tomoko’s aunt is an enigma and an outlier in her working-class family, and her magnificent home—and handsome foreign husband, the president of a soft drink company—are symbols of that status. The seventeen rooms are filled with German-made furnishings; there are sprawling gardens and even an old zoo where the family’s pygmy hippopotamus resides.

When Yui loses both her mother and her daughter in the tsunami, she begins to mark the passage of time from that date onward: Everything is relative to March 11, 2011, the day the tsunami tore Japan apart and when grief took hold of her life. Yui struggles to continue on, alone with her pain. Then, one day she hears about a man who has an old disused telephone booth in his garden. There, those who have lost loved ones find the strength to speak to them and begin to come to terms with their grief. As news of the phone booth spreads, people travel to it from miles around.