Ben Slocum's marriage careens out of control, so he flees New England, only to have his progress-and nearly his life-ended. Octogenarian and psychiatrist Will Rivard saves Ben with the stroke of a T'ai Chi sword. The ensuing friendship brings to light a stunning secret that has tormented Will for six decades. Will shares this secret through his adolescent journal, transporting Ben back in time to the height of the Great Depression. Ben's glimpse back in time reveals why two lovers cross the raging floodwaters of Fountain Creek, even as a bridge washes out beneath their car. Stranded, they huddle on the roof, a spot scarcely larger than a welcome mat, as rescuers throw ropes and launch boats into the torrent. Will Rivard joins in the fight to save them. Yet questions remain: Why did the couple attempt such a desperate gambit in the first place? Did Will chase them to that spot? As the complex strands of past and present converge, romance blossoms in Ben's life and he learns, of Will's ill-fated love. Like a Guilty Thing presents parallel dramas, each with questions-and answers-that race toward its gripping end.

**LONGLISTED FOR THE BAILLIE GIFFORD PRIZE FOR NON-FICTION 2016** **New York Times Book Review, Times Literary Supplement and Guardian Best Books of 2016** 'Life for De Quincey was either angels ascending on vaults of cloud or vagrants shivering on the city streets.' The last of the Romantics, Thomas De Quincey is a name synonymous with scandal. Modelling his character on Coleridge and his sensibility on Wordsworth, De Quincey took over the latter's former cottage and turned it into an opium den. Here, in the throes of his high, he nurtured his growing hatred of his former idols and wrote the notorious and fascinatingly strange essay 'On Murder Considered as one of the Fine Arts'. Despite never achieving the literary deification of his contemporaries, his narrative style – scripted and sculptured emotional memoir – was to inspire generations of writers: Dickens, Dostoevsky, Virginia Woolf. James Joyce knew whole pages of his work off by heart and he was arguably the father of what we now call psychogeography. Guilty Thing tells the riches-to-rags story of a dazzlingly complex and troubled figure, whose life was lived on the run, and affords De Quincey the literary biography he deserves.

She took a peaceful walk in the woods—and found death waiting. . . . “The best mystery writer anywhere in the English-speaking world.”—The Boston Globe Elizabeth and Quentin Nightingale. A happy couple who lived quite graciously at Myfleet Manor in the gentle English countryside. Elizabeth Nightingale found peace and tranquility on her nightly walks through the rich, dense forests surrounding Myfleet Manor. But the peace she treasured was shattered one night when she found death waiting in the woods. Chief Inspector Wexford and his colleague Inspector Burden find a most unsavory case on their hands—and must use all their wit and wisdom to solve it . . . “Undoubtedly one of the best writers of English mysteries and chiller-killer plots.”—Los Angeles Times “You cannot afford to miss Ruth Rendell.”—The New York Times Book Review “For readers who have almost given up mysteries . . . Rendell may be just the woman to get them started again.”—Ellery Queen's Mystery Magazine

National Book Critics Circle Award, Biographers International Organization Plutarch Award and Los Angeles Times Book Prize Finalist New York Times Book Review, Times Literary Supplement and The Guardian Best Books of 2016 Thomas De Quincey was an obsessive. He was obsessed with Wordsworth and Coleridge, whose Lyrical Ballads provided the script to his life, and by the idea of sudden death. Running away from school to pursue the two poets, De Quincey insinuated himself into their world. Basing his sensibility on Wordsworth’s and his character on Coleridge’s, he forged a triangle of unusual psychological complexity. Aged twenty-four, De Quincey replaced Wordsworth as the tenant of Dove Cottage, the poet’s former residence in Grasmere. In this idyllic spot he followed the reports of the notorious Ratcliffe Highway murders of 1811, when two families, including a baby, were butchered in their own homes. In his opium-soaked imagination the murderer became a poet while the poet became a murderer. Embedded in On Murder as One of the Fine Arts, De Quincey’s brilliant series of essays, Frances Wilson finds the startling story of his relationships with Wordsworth and Coleridge. Opium was the making of De Quincey, allowing him to dissolve self-conflict, eliminate self-recrimination, and divest himself of guilt. Opium also allowed him to write, and under the pseudonym “The Opium-Eater” De Quincey emerged as the strangest and most original journalist of his age. His influence has been considerable. Poe became his double; Dostoevsky went into exile with Confessions of an English Opium-Eater in his pocket; and Charles Dickens, Oscar Wilde, George Orwell, Alfred Hitchcock, and Vladimir Nabokov were all De Quincey devotees. There have been other biographies of Thomas De Quincey, but Guilty Thing is the first to be animated by the spirit of De Quincey himself. Following the growth of his obsessions from seed to full flowering and tracing the ways they intertwined, Frances Wilson finds the master key to De Quincey’s vast Piranesian mind. Unraveling a tale of hero worship and revenge, Guilty Thing brings the last of the Romantics roaring back to life and firmly establishes Wilson as one of our foremost contemporary biographers.

A vital resource for scholars, students and actors, this book contains glosses and quotes for over 14,000 words that could be misunderstood by or are unknown to a modern audience. Displayed panels look at such areas of Shakespeare's language as greetings, swear-words and terms of address. Plot summaries are included for all Shakespeare's plays and on the facing page is a unique diagramatic representation of the relationships within each play.

#1 New York Times Bestseller “Funny and smart as hell” (Bill Gates), Allie Brosh’s Hyperbole and a Half showcases her unique voice, leaping wit, and her ability to capture complex emotions with deceptively simple illustrations. FROM THE PUBLISHER: Every time Allie Brosh posts something new on her hugely popular blog Hyperbole and a Half the internet rejoices. This full-color, beautifully illustrated edition features more than fifty percent new content, with ten never-before-seen essays and one wholly revised and expanded piece as well as classics from the website like, “The God of Cake,” “Dogs Don’t Understand Basic Concepts Like Moving,” and her astonishing, “Adventures in Depression,” and “Depression Part Two,” which have been hailed as some of the most insightful meditations on the disease ever written. Brosh’s debut marks the launch of a major new American humorist who will surely make even the biggest scrooge or snob laugh. We dare you not to. FROM THE AUTHOR: This is a book I wrote. Because I wrote it, I had to figure out what to put on the back cover to explain what it is. I tried to write a long, third-person summary that would imply how great the book is and also sound vaguely authoritative—like maybe someone who isn’t me wrote it—but I soon discovered that I’m not sneaky enough to pull it off convincingly. So I decided to just make a list of things that are in the book: Pictures Words Stories about things that happened to me Stories about things that happened to other people because of me Eight billion dollars* Stories about dogs The secret to eternal happiness* *These are lies. Perhaps I have underestimated my sneakiness!