From the bestselling author of The Double Bind, Skeletons at the Feast, and Secrets of Eden, comes a riveting and dramatic ghost story.
The door was presumed to have been the entry to a coal chute, a perfectly reasonable assumption since a small hillock of damp coal sat moldering before it. It was a little under five feet in height and just about four feet wide, and it was composed of barnboard and thick pieces of rough-hewn timber.
Few of the agents who brought flatlanders to see the house ascribed its years on the market to the door in the basement or the thirty-nine carriage bolts that sealed it shut.
The unrelenting hero of The Summer of Dead Toys, Inspector Hector Salgado returns in another riveting crime thriller.
For the second time in a short period, Inspector Hector Salgado turns his head suddenly, convinced someone is watching him, but he sees only anonymous and indifferent faces.
It is January 5, the night before Reyes, though no one would think so judging by the pleasant temperature, ignored by some strollers conveniently dressed in overcoats, some even with gloves and scarf as befits the season, happy to participate in a sham of winter lacking the main ingredient: cold.
“If we’re going to redefine what success means … beyond money and power, it’s going to be women who will lead the way,” suggests Arianna Huffington in Thrive.
“Women are paying an even higher price than men for their participation in a work culture fueled by stress, sleep deprivation, and burnout,” she observes.
“That is one reason why so many talented women, with impressive degrees working in high-powered jobs, end up abandoning their careers when they can afford to . . . . A lot of women don’t want to get to the top and stay there because they don’t want to pay the price – in terms of their health, their well-being, and their happiness.”
Do you think fictional zombies give us a metaphorical way to understand the shambling, dead-eyed, insatiable hunger of addiction?
In Fiend, the critically acclaimed novel by Peter Stenson, there’s more than one kind of monster.
When Chase first sees the little girl in umbrella socks disemboweling the Rottweiler, he’s not too concerned. As a longtime meth addict, he’s no stranger to such horrifying, drug-fueled hallucinations.
But as he and his fellow junkies soon discover, the little girl is no illusion. The end of the world really has arrived.
How historically accurate should historical fiction be? Is it okay if the author fills in the blanks with her imagination?
Michelle Moran is known for her meticulously researched, richly detailed historical fiction. In Nefertiti, Moran tells the story of Nefertiti and her younger sister, Mutnodjmet, who have been raised in a powerful family that has provided wives to the rulers of Egypt for centuries.
Ambitious, charismatic, and beautiful, Nefertiti is destined to marry Amunhotep, an unstable young pharaoh. It is hoped that her strong personality will temper the young ruler’s heretical desire to forsake Egypt’s ancient gods.
Do you pay attention to author blurbs and early reviews when you’re deciding whether or not to read a book?
Here’s what early readers are saying about Andrew Lewis Conn’s O, Africa!: “It’s one of the funniest and saddest books I’ve read in years,” says Paul La Farge, author of Luminous Airplanes. Gary Shteyngart – author of Super Sad True Love Story – says, “Andrew Lewis Conn has written a strange, cool, hilarious and oddly moving masterpiece.”
Kirkus gives it a starred review and says O, Africa! is “A wildly ambitious and entertaining novel that manages to be both slapstick and deeply tragic.”
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