From "one of South Korea's best and most worldly writers" (NPR): An electric collection that captivates and provokes in equal measure, exploring what it means to be on the edge--between life and death, good and evil

EIGHTEEN YEARS EARLIER, at a quaint summer camp along the shore of Lake Stockton, four women were butchered in less than a week. Now the camp is being reopened and the camp’s new nurse is savagely killed, forcing Mark Dixon to deal with the memories of his own mother’s violent demise at Camp Stockton long ago. As the body count rises, Dixon reluctantly accepts the assistance of a beautiful acquaintance, determined to stop a vengeful killer. However, when the shocking truth about events, both past and present, is fi nally uncovered, Mark Dixon may well regret ever coming home!

It’s October in South Cove, California, and the locals in the quaint resort seem to be happily pairing off in the lull before the holidays. Everyone, that is, except for Jill Gardner’s elderly aunt, who just dumped her besotted fiancé—and she won’t say why. When Jill hosts a talk at Coffee, Books, and More on the topic of elder abuse, all that’s really on her mind is lunch. But the topic hits close to home when she discovers Aunt Jackie has been getting mysterious calls. Jill’s certain the caller is a con artist, of course, but her feisty aunt claims to understand this, though she’s still shaken—and Harrold’s still heartbroken. Who’s behind the scam and why was her aunt targeted? When a volunteer from the Senior Project is found murdered, Jill’s detective boyfriend is on the case—and it soon becomes clear no one is safe when a caller from beyond becomes a killer in their midst. Praise for The Tourist Trap Mysteries “I love the author’s style, which was warm and friendly . . . [A] wonderfully appealing series.” —Dru’s Book Musings “Light, fun, and kept me thoroughly engaged.” —The Young Folks

Addie Greyborne loved working with rare books at the Boston Public Library—she even got to play detective, tracking down clues about mysterious old volumes. But she didn’t expect her sleuthing skills to come in so handy in a little seaside town . . . Addie left some painful memories behind in the big city, including the unsolved murder of her fiancé and her father’s fatal car accident. After an unexpected inheritance from a great aunt, she’s moved to a small New England town founded by her ancestors back in colonial times—and living in spacious Greyborne Manor, on a hilltop overlooking the harbor. Best of all, her aunt also left her countless first editions and other treasures—providing an inventory to start her own store. But there’s trouble from day one, and not just from the grumpy woman who runs the bakery next door. A car nearly runs Addie down. Someone steals a copy of Alice in Wonderland. Then, Addie’s friend Serena, who owns a nearby tea shop, is arrested—for killing another local merchant. The police seem pretty sure they’ve got the story in hand, but Addie’s not going to let them close the book on this case without a fight . . .

"Vintage gems of crime and terror by a modern master of the macabre"--Cover.

Based on a true crime still unsolved by the LAPD.

Bong Joon Ho won the Oscar® for Best Director for Parasite (2019), which also won Best Picture, the first foreign film to do so, and two other Academy Awards. Parasite was the first Korean film to win the Palme d’Or at Cannes. These achievements mark a new career peak for the director, who first achieved wide international acclaim with 2006’s monster movie The Host and whose forays into English-language film with Snowpiercer (2013) and Okja (2017) brought him further recognition. As this timely book reveals, even as Bong Joon Ho has emerged as an internationally known director, his films still engage with distinctly Korean social and political contexts that may elude many Western viewers. The Films of Bong Joon Ho demonstrates how he hybridizes Hollywood conventions with local realities in order to create a cinema that foregrounds the absurd cultural anomie Koreans have experienced in tandem with their rapid economic development. Film critic and scholar Nam Lee explores how Bong subverts the structures of the genres he works within, from the crime thriller to the sci-fi film, in order to be truthful to Korean realities that often deny the reassurances of the happy Hollywood ending. With detailed readings of Bong’s films from Barking Dogs Never Bite (2000) through Parasite (2019), the book will give readers a new appreciation of this world-class cinematic talent.

South Korean Film: Critical and Primary Sources is an essential three-volume reference collection representing three distinct phases in the development of South Korean national cinema, foregrounding how epochal characteristics inform the way in which the national cinema represents the penetrating thematic concern of auteur-ship, genre, spectatorship, gender, and nation, as well as the way in which these themes find expression in distinct visual styles and forms.