Seventeen-year-old Mickey James III is a college freshman, a brother to five sisters, and a hockey legacy. With a father and a grandfather who have gone down in NHL history, Mickey is almost guaranteed the league's top draft spot.

Achike Okoro feels like his life is coming together at last. His top-floor flat in Peckham is as close to home as he can imagine, and after years of hard work, he's about to get his break as an actor. He's even persuaded his father, Chibuike, to move in with him, grateful to offer the man who raised him as a single parent a home of his own. Between filming trips, Achike is snatching a few days in London with Ekene, his best friend of 20 years, the person who makes him feel whole. Achike can put the terrible things that happened behind him at last; everything is going to be alright.

London 1862: Sue Trinder, orphaned at birth, grows up among petty thieves - fingersmiths - under the rough but loving care of Mrs Sucksby and her 'family'. But from the moment she draws breath, Sue's fate is linked to that of another orphan growing up in a gloomy mansion not too many miles away.

The effortless virtuosity, directness, drama and humanity of Carol Ann Duffy's verse have made her our most admired and best-loved contemporary poet. Rapture, her seventh collection, is an audiobook-length love poem and a moving act of personal testimony; but what sets these poems apart from other treatments of the subject is that Duffy refuses to simplify the contradictions of love and read its transformations - infatuation, longing, passion, commitment, rancour, separation and grief - as simply redemptive or destructive.

Edward Manners - 33 and disaffected - escapes to a Flemish city in search of a new life. Almost at once he falls in love with 17-year-old Luc and is introduced to the twilight world of the 1890s Belgian painter Edgard Orst.

Mary Oliver has published fifteen volumes of poetry and five books of prose in the span of four decades, but she rarely performs her poetry in live readings. Now, with the arrival of At Blackwater Pond, Mary Oliver has given her audience what they've longed to hear: the poet's voice reading her own work.

'It's a boy!' or 'It's a girl!' are the first words almost all of us hear when we enter the world. Before our names, before we have likes and dislikes - before we, or anyone else, has any idea who we are. And two years ago, as Juno Dawson went to tell her mother she was (and actually, always had been) a woman, she started to realise just how wrong we've been getting it.

Celie has grown up poor in rural Georgia, despised by society and abused by her own family. She strives to protect her sister, Nettie, from a similar fate, and while Nettie escapes to a new life as a missionary in Africa, Celie is left behind without her best friend and confidante, married off to an older suitor, and sentenced to a life alone with a harsh and brutal husband. In an attempt to transcend a life that often seems too much to bear, Celie begins writing letters to God. The letters, spanning 20 years, record a journey of self-discovery and empowerment guided by the light of a few strong women.

On an unseasonably warm autumn day, an American teacher enters a public bathroom beneath Sofia's National Palace of Culture. There he meets Mitko, a charismatic young hustler, and pays him for sex. He returns to Mitko again and again over the next few months, their relationship growing increasingly intimate and unnerving. As he struggles to reconcile his longing with the anguish it creates, he's forced to grapple with his own fraught history.

Celie has grown up poor in rural Georgia, despised by society and abused by her own family. She strives to protect her sister, Nettie, from a similar fate, and while Nettie escapes to a new life as a missionary in Africa, Celie is left behind without her best friend and confidante, married off to an older suitor, and sentenced to a life alone with a harsh and brutal husband. In an attempt to transcend a life that often seems too much to bear, Celie begins writing letters to God. The letters, spanning 20 years, record a journey of self-discovery and empowerment guided by the light of a few strong women.

Written for Virginia Woolf's friend, the charismatic writer Vita Sackville-West, Orlando is a playful mock 'biography' of a chameleonic historical figure, immortal and ageless, who changes sex and identity on a whim. First masculine, then feminine, Orlando begins life as a young 16th-century nobleman, then gallops through three centuries to end up as a woman writer in Virginia Woolf's own time. A wry commentary on gender roles and modes of history, Orlando is also, in Woolf's own words, a light-hearted 'writer's holiday' which delights in ambiguity and capriciousness.

Among the cast of this groundbreaking saga are the lovelorn residents of 28 Barbary Lane: the bewildered but aspiring Mary Ann Singleton; the libidinous Brian Hawkins; Mona Ramsey, still in a'60s trance; Michael "Mouse" Tolliver, forever in bright-eyed pursuit of Mr. Right; and their marijuana-growing landlady, the indefatigable Mrs. Madrigal.

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.

Joey is young, indifferent. He’s drifting around Western Sydney, unaware of how his passivity might lead him even further adrift, off the rails, into a violent crime. Meanwhile his grandmother, Elaine—a proud Lebanese woman—tries to save face and hold herself together in the wake of Joey's actions. In her family, history repeats itself, vices come and go and uncovering long-buried secrets isn't always cathartic.

Moving back through the 1940s, through air raids, blacked out streets, illicit liaisons, sexual adventure, to end with its beginning in 1941, The Night Watch is the work of a truly brilliant and compelling storyteller. This is the story of four Londoners, three women and a young man with a past, drawn with absolute truth and intimacy.

She of the Mountains is a beautifully rendered novel by Vivek Shraya, the author of the Lambda Literary Award finalist God Loves Hair. Shraya weaves a passionate, contemporary love story between a man and his body, with a re-imagining of Hindu mythology. Both narratives explore the complexities of embodiment and the damaging effects that policing gender and sexuality can have on the human heart.

There are no more monsters anymore, or so the children in the city of Lucille are taught. With doting parents and a best friend named Redemption, Jam has grown up with this lesson all her life. But when she meets Pet, a creature made of horns and colours and claws, who emerges from one of her mother's paintings and a drop of Jam's blood, she must reconsider what she's been told. Pet has come to hunt a monster, and the shadow of something grim lurks in Redemption's house. Jam must fight not only to protect her best friend but also to uncover the truth.

In this intimate and vital debut, Richard Scott looks into the places not everyone sees or chooses to see. Against the backdrop of London's Soho, he creates an uncompromising portrait of love and shame, questioning our sense of the permissible and the perverse. Scott takes us back to our roots: childhood incidents, the violence our scars betray, forgotten forebears and histories. The hungers of sexual encounters are underscored by the risks that threaten when we give ourselves to or accept another. But the poems celebrate joy and tenderness, too, as in a sequence reimagining the love poetry of Verlaine.

Travis Alabanza examines seven phrases people have directed at them about their gender identity. These phrases have stayed with them over the years. Some are deceptively innocuous, some deliberately loaded or offensive, some celebratory; sentences that have impacted them for better and for worse; sentences that speak to the broader issues raised by a world that insists that gender must be a binary. Through these seven phrases, which include some of their most transformative experiences as a Black, mixed-race, non-binary person, Travis Alabanza turns a mirror back on society.

Northern, working-class and shagging men three times her age, Crystal writes candidly about her search for ‘the one’; sleeping with an editor in an attempt to become a world famous journalist; getting hired and fired by a well-known fashion magazine; being torn between losing weight and gorging on KFC; and her need for constant sexual satisfaction (and where that takes her). Charting her day-to-day adventures over the course of a year, we encounter tucks, twists and sucks, heinous overspending and endless nights spent sprinting from problem to problem in a full face of makeup.