PI Charlie Parker, a former New York policeman, searches for the killer of his wife and daughter. Two women help him, a pretty criminal psychologist and an old Creole woman with psychic vision.

A 12-year-old boy, mourning the death of his mother, takes refuge in the myths and fairytales she always loved--and finds that his reality and a fantasy world start to meld.

Private Investigator Charlie Parker returns in this heart-pounding thriller as he seeks revenge against the darkest forces in the world, from “one of the best thriller writers we have” (Harlan Coben, #1 New York Times bestselling author) and the internationally bestselling author of the acclaimed The Woman in the Woods. He is our best hope. He is our last hope. He is our only hope. On a lonely moor in northern England, the body of a young woman is discovered. In the south, a girl lies buried beneath a Saxon mound. To the southeast, the ruins of a priory hide a human skull. Each is a sacrifice, a summons. And something in the darkness has heard the call. Charlie Parker has also heard it and from the forests of Maine to the deserts of the Mexican border, from the canals of Amsterdam to the streets of London, he will track those who would cast the world into darkness. Parker fears no evil—but evil fears him. “A seamless, expansive, and chilling blend of police procedural and gothic horror tale” (Kirkus Reviews), A Book of Bones will keep you guessing until the very last page.

The celebrated New York Times Bestseller A Best Book of the Year pick at the New York Times, NPR, The New Yorker, TIME, Washington Post, Oprahmag.com, Thrillist, Shelf Awareness, Good Housekeeping and more. What does it take to come back to life? For Jessa-Lynn Morton, the question is not an abstract one. In the wake of her father’s suicide, Jessa has stepped up to manage his failing taxidermy business while the rest of the Morton family crumbles. Her mother starts sneaking into the taxidermy shop to make provocative animal art, while her brother, Milo, withdraws. And Brynn, Milo’s wife—and the only person Jessa’s ever been in love with—walks out without a word. It’s not until the Mortons reach a tipping point that a string of unexpected incidents begins to open up surprising possibilities and second chances. But will they be enough to salvage this family, to help them find their way back to one another? Kristen Arnett’s breakout bestseller is a darkly funny family portrait; a peculiar, bighearted look at love and loss and the ways we live through them together.

1968. The Glenda Barker incident. The dead things rose. People died. And Stefan Roland was on the scene to capture it all in glorious film. It wasn’t planned. You didn’t plan life-changing and career-making events like that. You kept reporting and maybe you got lucky. Maybe you got something so big that the Inquisition couldn’t keep it quiet or hush it up. Maybe you got to show the world what was going on. And if you were really lucky, maybe you survived the dead things instead of becoming one.

Some of the most iconic, hard-boiled Irish detectives in fiction insist that they are not detectives at all. Hailing from a region with a cultural history of mistrust in the criminal justice system, Irish crime writers resist many of the stereotypical devices of the genre. These writers have adroitly carved out their own individual narratives to weave firsthand perspectives of history, politics, violence, and changes in the economic and social climate together with characters who have richly detailed experiences. Recognizing this achievement among Irish crime writers, Babbar shines a light on how Irish noir has established a new approach to a longstanding genre. Beginning with Ken Bruen’s Jack Taylor, who rejects the detective title in favor of “finder”—a reference to Saint Anthony of Padua in the context of a traditionally secular form—Babbar examines the ways Irish authors, including John Connolly, Tana French, Alex Barclay, Adrian McKinty, Brian McGilloway, Claire McGowan, Gerard Brennan, Stuart Neville, Steve Cavanagh, and Eoin McNamee, subvert convention to reclaim their stories from a number of powerful influences: Revivalism, genre snobbery, cultural literary standards, and colonialism. These writers assert their heritage while also assuming a vital role in creating a broader vision of justice.

Tormented and racked with guilt over the brutal slaying of his wife and daughter, Charlie 'Bird' Parker, ex-cop with the NYPD, agrees to track down a missing girl. It is a search that will lead him into an abyss of evil. At the same time, he is warned by an old black woman in Louisiana that 'The Travelling Man' is about to strike again. Multiple strands converge with a horrific confrontation in which hunter and hunted are intimately connected by guilt.