Lose yourself in this tumultuous Swedish family saga, introduced by Sarah Moss ('a masterpiece') Judit is stubborn and singular, distant and unyielding. She is called Queen. Her realm is a windswept farm on a misty Swedish coastline.When she is nine, her dying mother places Judit's brother Viktor in her arms, and the two are bonded for life. Together with their silent brother, Albert,they forge a precarious family. But Judit has her secrets; she dreams amidst the salt spray. And when Viktor emigrates to America, the ground beneath her feet forever shifts. Translated into English for the first time, Queen (1964)is a visionary family saga: a mythic epic in miniature, mystical and anarchic. One of the greatest Swedish novelists of all time, Birgitta Trotzig casts another worldly light across the souls of her characters - and her readers. Translated by Saskia Vogel 'Fear, rage, love, resentment: the full range of human emotion is here . . . A story fuelled by inevitability and cold beauty.' Sarah Moss

For fans of I Who Have Never Known Men, a 'creepily prescient' (Margaret Atwood) lost dystopian 'masterpiece' (Emily St. John Mandel): in a nightmarish Britain, THEY are coming closer. 'A creepily prescient tale ... Insidiously horrifying!' Margaret Atwood 'A masterpiece of creeping dread.' Emily St. John Mandel 'As creepy, tense and strange as when I first read it 40 years ago.' Ian Rankin This is Britain: but not as we know it. THEY are coming closer . . . THEY begin with a dead dog, shadowy footsteps, confiscated books. Soon the National Gallery is purged; eerie towers survey the coast; savage mobs stalk the countryside destroying artworks - and those who resist. THEY capture dissidents - writers, painters, musicians, even the unmarried and childless - in military sweeps, 'curing' these subversives of individual identity. Survivors gather together as cultural refugees, preserving their crafts, creating, loving and remembering. But THEY make it easier to forget ... Lost for over forty years, Kay Dick's They (1977) is a rediscovered dystopian masterpiece of art under attack: a cry from the soul against censorship, a radical celebration of non-conformity - and a warning.

Introduced by Jeff VanderMeer - ''a classic: stunning, dangerous, darkly beautiful'' - welcome to the post-apocalyptic White Lotus: a luxury hotel at the end of the world in this lost 1967 dystopia ... ''Chilling and prescient.'' Andrew Hunter Murray ''Elemental and true.'' Kiran Millwood Hargrave ''Mesmerizing.'' Sandra Newman ''Like someone from the future screaming to us.'' Salena Godden The day we came up from the shelters four people were found dead on the steps of the hotel. Welcome to Termush: a luxury coastal resort like no other. All the wealthy guests are survivors: preppers who reserved rooms long before the Disaster. Inside, they embrace exclusive radiation shelters, ambient music and lavish provisions; outside, radioactive dust falls on the sculpture park, security men step over dead birds, and a reconnaissance party embarks. Despite weathering a nuclear apocalypse, their problems are only just beginning. Soon, the Management begins censoring news; disruptive guests are sedated; initial generosity towards Strangers ceases as fears of contamination and limited resources grow. But as the numbers - and desperation - of external survivors increase, admist this moral fallout, they must decide what it means to forge a new ethical code at the end (or beginning?) of the world ... Translated by Sylvia Clayton

Introduced by Jeff VanderMeer - ''a classic: stunning, dangerous, darkly beautiful'' - welcome to the post-apocalyptic White Lotus: a luxury hotel at the end of the world in this lost 1967 dystopia ... ''Chilling and prescient.'' Andrew Hunter Murray ''Elemental and true.'' Kiran Millwood Hargrave ''Mesmerizing.'' Sandra Newman ''Like someone from the future screaming to us.'' Salena Godden The day we came up from the shelters four people were found dead on the steps of the hotel. Welcome to Termush: a luxury coastal resort like no other. All the wealthy guests are survivors: preppers who reserved rooms long before the Disaster. Inside, they embrace exclusive radiation shelters, ambient music and lavish provisions; outside, radioactive dust falls on the sculpture park, security men step over dead birds, and a reconnaissance party embarks. Despite weathering a nuclear apocalypse, their problems are only just beginning. Soon, the Management begins censoring news; disruptive guests are sedated; initial generosity towards Strangers ceases as fears of contamination and limited resources grow. But as the numbers - and desperation - of external survivors increase, admist this moral fallout, they must decide what it means to forge a new ethical code at the end (or beginning?) of the world ... Translated by Sylvia Clayton

'Darkly funny and startlingly contemporary, full of witty one-liners and stop-you-in-your-tracks observations about romance, work, and life.' (Monica Heisey, author of Really Good, Actually)