From Rupi Kaur, the #1 New York Times bestselling author of milk and honey, comes her long-awaited second collection of poetry.  A vibrant and transcendent journey about growth and healing. Ancestry and honoring one’s roots. Expatriation and rising up to find a home within yourself.

Divided into five chapters and illustrated by Kaur, the sun and her flowers is a journey of wilting, falling, rooting, rising, and blooming. A celebration of love in all its forms.
 
this is the recipe of life
said my mother
as she held me in her arms as i wept 
think of those flowers you plant
in the garden each year 
they will teach you
that people too
must wilt
fall
root
rise
in order to bloom
 

#1 New York Times bestseller Milk and Honey is a collection of poetry and prose about survival. About the experience of violence, abuse, love, loss, and femininity.

The book is divided into four chapters, and each chapter serves a different purpose. Deals with a different pain. Heals a different heartache. Milk and Honey takes readers through a journey of the most bitter moments in life and finds sweetness in them because there is sweetness everywhere if you are just willing to look.

Maior fenômeno de poesia dos EUA na última década, há mais de 40 semanas no topo das listas de best-sellers.
Outros jeitos de usar a boca é um livro de poemas sobre a sobrevivência. Sobre a experiência de violência, o abuso, o amor, a perda e a feminilidade. O volume – publicado nos EUA como “milk and honey” – é dividido em quatro partes, e cada uma delas serve a um propósito diferente. Lida com um tipo diferente de dor. Cura uma mágoa diferente. Outros jeitos de usar a boca transporta o leitor por uma jornada pelos momentos mais amargos da vida e encontra uma maneira de tirar delicadeza deles. Publicado inicialmente de forma independente por Rupi Kaur, poeta, artista plástica e performer canadense nascida na Índia – e que também assina as ilustrações presentes neste volume -, o livro se tornou o maior fenômeno do gênero nos últimos anos nos Estados Unidos, com mais de 1 milhão de exemplares vendidos.

Opowiesci o milosci i kobiecosci, ale tez przemocy i stracie.\nW krotkiej, poetyckiej formie skrystalizowaly sie pelne cielesnosci emocje. Kazdy z rozdzialow dotyka innych doswiadczen, lagodzi inny bol. Rupi Kaur szczerze i bezkompromisowo ukazuje kobiecosc we wszystkich jej odcieniach, cudowna zdolnosc kobiecego ciala i umyslu do otwierania sie na milosc i rozkosz mimo doznanych krzywd.\nMiedzynarodowy bestseller. Ponad pol miliona sprzedanych egzemplarzy w samych Stanach Zjednoczonych. Kilkadziesiat tygodni na liscie bestsellerow „

Sonja is a divorced and attractive Indian girl. She is working as a software engineer in an investment bank in USA. She has money ($$$$), she can afford sex outside marriage. She also has opinion on everything. She is dating various marriage prospects, will she get her dream guy?

Soon to be a major motion picture—Stephen King’s terrifying, classic #1 New York Times bestseller, “a landmark in American literature” (Chicago Sun-Times)—about seven adults who return to their hometown to confront a nightmare they had first stumbled on as teenagers…an evil without a name: It.

Welcome to Derry, Maine. It’s a small city, a place as hauntingly familiar as your own hometown. Only in Derry the haunting is real.

They were seven teenagers when they first stumbled upon the horror. Now they are grown-up men and women who have gone out into the big world to gain success and happiness. But the promise they made twenty-eight years ago calls them reunite in the same place where, as teenagers, they battled an evil creature that preyed on the city’s children. Now, children are being murdered again and their repressed memories of that terrifying summer return as they prepare to once again battle the monster lurking in Derry’s sewers.

Readers of Stephen King know that Derry, Maine, is a place with a deep, dark hold on the author. It reappears in many of his books, including Bag of Bones, Hearts in Atlantis, and 11/22/63. But it all starts with It.

“Stephen King’s most mature work” (St. Petersburg Times), “It will overwhelm you… to be read in a well-lit room only” (Los Angeles Times).

From New York Times bestselling author of the “twisty-mystery” (Vulture) novel In a Dark, Dark Wood, comes The Woman in Cabin 10, an equally suspenseful and haunting novel from Ruth Ware—this time, set at sea.

In this tightly wound, enthralling story reminiscent of Agatha Christie’s works, Lo Blacklock, a journalist who writes for a travel magazine, has just been given the assignment of a lifetime: a week on a luxury cruise with only a handful of cabins. The sky is clear, the waters calm, and the veneered, select guests jovial as the exclusive cruise ship, the Aurora, begins her voyage in the picturesque North Sea. At first, Lo’s stay is nothing but pleasant: the cabins are plush, the dinner parties are sparkling, and the guests are elegant. But as the week wears on, frigid winds whip the deck, gray skies fall, and Lo witnesses what she can only describe as a dark and terrifying nightmare: a woman being thrown overboard. The problem? All passengers remain accounted for—and so, the ship sails on as if nothing has happened, despite Lo’s desperate attempts to convey that something (or someone) has gone terribly, terribly wrong…

With surprising twists, spine-tingling turns, and a setting that proves as uncomfortably claustrophobic as it is eerily beautiful, Ruth Ware offers up another taut and intense read in The Woman in Cabin 10—one that will leave even the most sure-footed reader restlessly uneasy long after the last page is turned.

The Handmaid’s Tale is not only a radical and brilliant departure for Margaret Atwood, it is a novel of such power that the reader will be unable to forget its images and its forecast. Set in the near future, it describes life in what was once the United States, now called the Republic of Gilead, a monotheocracy that has reacted to social unrest and a sharply declining birthrate by reverting to, and going beyond, the repressive intolerance of the original Puritans. The regime takes the Book of Genesis absolutely at its word, with bizarre consequences for the women and men of its population.

The story is told through the eyes of Offred, one of the unfortunate Handmaids under the new social order. In condensed but eloquent prose, by turns cool-eyed, tender, despairing, passionate, and wry, she reveals to us the dark corners behind the establishment’s calm facade, as certain tendencies now in existence are carried to their logical conclusions. The Handmaid’s Tale is funny, unexpected, horrifying, and altogether convincing. It is at once scathing satire, dire warning, and tour de force. It is Margaret Atwood at her best.