On his last day in power, with a blizzard threatening eighteen inches of snow, Sheriff Bittersmith is called to the scene of a crime. A farmer has been stabbed clean through the neck with a pitchfork. Two sets of tracks lead from the barn, and the dead man’s frantic wife exclaims that her daughter is missing. Convinced it was Gale G’Wain, the orphan who worked at the farm, Bittersmith follows the vanishing footprints into the storm. Miles away, holed up in an empty farmhouse, Gale is alone and close to dead after falling through lake ice. Innocent but unlikely to ever stand trial in this corrupt town, he loads his gun and prepares to defend himself against the dead man’s sons and the sheriff’s department. Set in rural Wyoming in the 1970s and unfolding in a single day, Clayton Lindemuth’s debut novel, Cold Quiet Country, explores small-town corruption and the lengths some people will go to exact revenge.

The Quiet Season Remembering Country Winters Jerry Apps “As I think back to the days of my childhood, the frost-covered windows in my bedroom, the frigid walks to the country school, the excitement of a blizzard, and a hundred other memories, I realize that these experiences left an indelible mark on me and made me who I am today.”—From the Introduction Jerry Apps recalls winters growing up on a farm in central Wisconsin during the latter years of the Depression and through World War II. Before electricity came to this part of Waushara County, farmers milked cows by hand with the light of a kerosene lantern, woodstoves heated the drafty farm homes, and “making wood” was a major part of every winter’s work. The children in Jerry’s rural community walked to a country school that was heated with a woodstove and had no indoor plumbing. Wisconsin winters then were a time of reflection, of planning for next year, and of families drawing together. Jerry describes how winter influenced farm families and suggests that those of us who grow up with harsh northern winters are profoundly affected in ways we often are not aware.

From the bestselling author of Lawrence in Arabia—the gripping story of four CIA agents during the early days of the Cold War—and how the United States, at the very pinnacle of its power, managed to permanently damage its moral standing in the world. “Enthralling … captivating reading.” —The New York Times Book Review At the end of World War II, the United States was considered the victor over tyranny and a champion of freedom. But it was clear—to some—that the Soviet Union was already seeking to expand and foment revolution around the world, and the American government’s strategy in response relied on the secret efforts of a newly formed CIA. Chronicling the fascinating lives of four agents, Scott Anderson follows the exploits of four spies: Michael Burke, who organized parachute commandos from an Italian villa; Frank Wisner, an ingenious spymaster who directed actions around the world; Peter Sichel, a German Jew who outwitted the ruthless KGB in Berlin; and Edward Lansdale, a mastermind of psychological warfare in the Far East. But despite their lofty ambitions, time and again their efforts went awry, thwarted by a combination of ham-fisted politicking and ideological rigidity at the highest levels of the government.

A ghost story that begins in everyday tragedy, from a distinctly American master of both forms: a "scary, sad, funny . . . mesmerizing read" (Stephen King) At Midnight on Halloween in a cloistered New England suburb, a car carrying five teenagers leaves a winding road and slams into a tree, killing three of them. One escapes unharmed, another suffers severe brain damage. A year later, summoned by the memories of those closest to them, the three that died come back on a last chilling mission among the living. A strange and unsettling ghost story, The Night Country creeps through the leaf-strewn streets and quiet cul-de-sacs of one bedroom community, reaching into the desperately connected yet isolated lives of three people changed forever by the accident: Tim, who survived yet lost everything; Brooks, the cop whose guilty secret has destroyed his life; and Kyle's mom, trying to love the new son the doctors returned to her. As the day wanes and darkness falls, one of them puts a terrible plan into effect, and they find themselves caught in a collision of need and desire, watched over by the knowing ghosts. Macabre and moving, The Night Country elevates every small town's bad high school crash into myth, finding the deeper human truth beneath a shared and very American tragedy. As in his highly-prized Snow Angels and A Prayer for the Dying, once again Stewart O'Nan gives us an intimate look at people trying to hold on to hope, and the consequences when they fail.

Introducing Wyoming’s Sheriff Walt Longmire in this riveting novel from the New York Times bestselling author of Hell Is Empty and As the Crow Flies, the first in the Longmire Mystery Series, the basis for LONGMIRE, the hit Netflix original drama series. Fans of Ace Atkins, Nevada Barr and Robert B. Parker will love this outstanding first novel, in which New York Times bestselling author Craig Johnson introduces Sheriff Walt Longmire of Wyoming’s Absaroka County. Johnson draws on his deep attachment to the American West to produce a literary mystery of stunning authenticity, and full of memorable characters. After twenty-five years as sheriff of Absaroka County, Walt Longmire’s hopes of finishing out his tenure in peace are dashed when Cody Pritchard is found dead near the Northern Cheyenne Reservation. Two years earlier, Cody has been one of four high school boys given suspended sentences for raping a local Cheyenne girl. Somebody, it would seem, is seeking vengeance, and Longmire might be the only thing standing between the three remaining boys and a Sharps .45-70 rifle. With lifelong friend Henry Standing Bear, Deputy Victoria Moretti, and a cast of characters both tragic and humorous enough to fill in the vast emptiness of the high plains, Walt Longmire attempts to see that revenge, a dish best served cold, is never served at all.

A “masterful . . . brilliantly constructed novel” of love and chaos in 1950s Vietnam (Zadie Smith, The Guardian). It’s 1955 and British journalist Thomas Fowler has been in Vietnam for two years covering the insurgency against French colonial rule. But it’s not just a political tangle that’s kept him tethered to the country. There’s also his lover, Phuong, a young Vietnamese woman who clings to Fowler for protection. Then comes Alden Pyle, an idealistic American working in service of the CIA. Devotedly, disastrously patriotic, he believes neither communism nor colonialism is what’s best for Southeast Asia, but rather a “Third Force”: American democracy by any means necessary. His ideas of conquest include Phuong, to whom he promises a sweet life in the states. But as Pyle’s blind moral conviction wreaks havoc upon innocent lives, it’s ultimately his romantic compulsions that will play a role in his own undoing. Although criticized upon publication as anti-American, Graham Greene’s “complex but compelling story of intrigue and counter-intrigue” would, in a few short years, prove prescient in its own condemnation of American interventionism (The New York Times).

If Spook Street is where spies live, Joe Country is where they go to die. In Slough House, the London outpost for disgraced MI5 spies, memories are stirring, all of them bad. Catherine Standish is buying booze again, Louisa Guy is raking over the ashes of lost love, and new recruit Lech Wicinski, whose sins make him an outcast even among the slow horses, is determined to discover who destroyed his career, even if he tears his life apart in the process. Meanwhile, in Regent’s Park, Diana Taverner’s tenure as First Desk is running into difficulties. If she’s going to make the Service fit for purpose, she might have to make deals with a familiar old devil . . . And with winter taking its grip, Jackson Lamb would sooner be left brooding in peace, but even he can’t ignore the dried blood on his carpets. So when the man responsible for killing a slow horse breaks cover at last, Lamb sends the slow horses out to even the score.

On the run from an unplanned murder of a law enforcement officer at his camp outside of Flagstaff, Arizona, Nat Cinder blazes to Phoenix on his Triumph Rocket. Soon he stumbles onto a packet of photos showing Governor Virginia Rentier lustily paired with three high-ranking women in state government. Though Cinder and the Governor clashed sixteen years before when his wife died in a car accident, Cinder prefers to keep his dislike of Rentier focused on her politics. He's too busy blaming himself for his wife's death, fighting his way back into his son's life, and leading a crew of lazy secessionist misfits to become involved in an intrigue about the Governor's sex partners. But when the bullets fly, Nat asks questions, and learns that his sudden war with the Governor traces back sixteen years. And that the photos were put in his path by a provocateur who knows Nat Cinder's a rough-hewn rebel with enough weaponry cached across Arizona to start a revolution, and that the secret at the bottom of his wife's death will turn him into a powder keg. TREAD is what fans of Clayton Lindemuth's "thrilling, visceral, and unsparing" prose (Publishers Weekly) have been waiting for: a novel that pairs his lean noir voice with the explosive tempo of the modern political thriller.

"When people lie to Baer Creighton their eyes glow red and he experiences a small burst of electricity. It hurts to suffer liars-- and Baer learned long ago that everyone lies. So he sleeps in the woods outside his house, converses with his sole companion, a pit bull named Fred, and distills special blends of fruited moonshine. When Fred is stolen, fought in an illegal fight circle and left for dead, Baer vows to set things right. He has all the skill he needs to find each man present at the fight circle that night and park a pile of hell on his front porch. But when he tips his hand he becomes the hunted, and the war he thought would be settled in a single attack becomes a battle of attrition with violence coming at him from all angles. When the battle escalates to the unthinkable, Baer concots a retribution so horrifying it gives him pause. To implement the ultimate vengeance Baer will have to confront his past, the liars he has loved, and the biggest lie of all. You can be damn sure he does. Evil doesn't come easy for Baer Creighton, but it comes."--Back cover.

The inaugural winner of The Novel Prize, an international biennial award established by Giramondo (Australia), Fitzcarraldo Editions (UK) and New Directions (USA). Cold Enough for Snow was unanimously chosen from over 1500 entries. A novel about the relationship between life and art, and between language and the inner world – how difficult it is to speak truly, to know and be known by another, and how much power and friction lies in the unsaid, especially between a mother and daughter. A young woman has arranged a holiday with her mother in Japan. They travel by train, visit galleries and churches chosen for their art and architecture, eat together in small cafés and restaurants and walk along the canals at night, on guard against the autumn rain and the prospect of snow. All the while, they talk, or seem to talk: about the weather, horoscopes, clothes and objects; about the mother’s family in Hong Kong, and the daughter’s own formative experiences. But uncertainties abound. How much is spoken between them, how much is thought but unspoken? Cold Enough for Snow is a reckoning and an elegy: with extraordinary skill, Au creates an enveloping atmosphere that expresses both the tenderness between mother and daughter, and the distance between them. 'So calm and clear and deep, I wished it would flow on forever.' — Helen Garner 'Rarely have I been so moved, reading a book: I love the quiet beauty of Cold Enough for Snow and how, within its calm simplicity, Jessica Au camouflages incredible power.' — Edouard Louis 'Au’s prose is elegant and measured. In descriptions of bracing clarity she evokes ‘shaking delicate impressions’ of worlds within worlds that are symbolic of the parts of ourselves we keep hidden and those we choose to lay bare. Put simply, this novel is an intricate and multi-layered work of art — a complex and profound meditation on identity, familial bonds and our inability to fully understand ourselves, those we love and the world around us.' — Jacqui Davies, Books+Publishing