Unputdownable · Psychological Suspense · Horror · Tense · Gripping A FALLON BOOK CLUB PICK “Pulse-pounding locked-room suspense.” —Elle “Nightwatching is like nothing I've read before. I wolfed it down in two sittings; it's amazing.”—Lisa Jewell A footstep on the stairs. A second to react. What happens next will determine everything. Home alone with her young children during a blizzard, a mother tucks her son back into bed in the middle of the night. She hears a noise—old houses are always making some kind of noise. But this sound is disturbingly familiar: it’s the tread of footsteps, unusually heavy and slow, coming up the stairs. She sees the figure of a man appear down the hallway, shrouded in the shadows. Terrified, she quietly wakes her children and hustles them into the oldest part of the house, a tiny, secret room concealed behind a wall. There they hide as the man searches for them, trying to tempt the children out with promises and scare the mother into surrender. In the suffocating darkness, the mother struggles to remain calm, to plan. Should she search for a weapon or attempt escape? But then she catches another glimpse of him. That face. That voice. And at once she knows her situation is even more dire than she’d feared, because she knows exactly who he is—and what he wants.

Unputdownable · Psychological Suspense · Horror · Tense · Gripping A FALLON BOOK CLUB PICK “Pulse-pounding locked-room suspense.” —Elle “Nightwatching is like nothing I've read before. I wolfed it down in two sittings; it's amazing.”—Lisa Jewell A footstep on the stairs. A second to react. What happens next will determine everything. Home alone with her young children during a blizzard, a mother tucks her son back into bed in the middle of the night. She hears a noise—old houses are always making some kind of noise. But this sound is disturbingly familiar: it’s the tread of footsteps, unusually heavy and slow, coming up the stairs. She sees the figure of a man appear down the hallway, shrouded in the shadows. Terrified, she quietly wakes her children and hustles them into the oldest part of the house, a tiny, secret room concealed behind a wall. There they hide as the man searches for them, trying to tempt the children out with promises and scare the mother into surrender. In the suffocating darkness, the mother struggles to remain calm, to plan. Should she search for a weapon or attempt escape? But then she catches another glimpse of him. That face. That voice. And at once she knows her situation is even more dire than she’d feared, because she knows exactly who he is—and what he wants.

Peter Greenaway: Nightwatching~ISBN 2-914563-23-X U.S. $24.95 / Paperback, 8.25 x 7 in. / 128 pgs / 32 color. ~Item / June / Film Greenaway is a cultural omnivore who eats with his mouth open. --Pauline Kael

In 2007, the internationally renowned filmmaker Peter Greenaway ("The Cook, The Thief, His Wife & Her Lover; The Draughtsman's Contract") will release "Nightwatching," a feature-length study of the life and loves of the eighteenth-century Dutch painter, Rembrandt, via his controversial masterpiece, "The Night Watch," an ensemble painting which depicts the identification of a murderer. According to Greenaway, the painting is "Rembrandt's "J'accuse."" There is a conspiracy painted in Rembrandt's "The Night Watch." The sinister title of the painting alone suggests we should look for it . Is this a painting, or an act of theater, or a still from a film?" In this accompanying artist's book, Greenaway offers fans a glimpse into his own artistic process, with written analyses of each of the characters in the painting followed by a wealth of enlarged, close-up details in which brush marks practically jump from the page.

Morality plays were the main form of theatre in England between about 1400 and 1600. They usually portrayed a representative Christian figure locked in spiritual conflict. They have recently been revived as early examples of living theatre.

One hot, lonely summer in the Orange Free State of South Africa, feisty Ruthie Blackburn finds herself at odds with everyone around her. She squirms under the watchful eye of her nanny, Miriam, and bristles at the neighbour’s gardener’s boy, Sip, who follows her everywhere and is her only friend. But mostly she misses her distracted widower father who is more absent each day. Ruthie runs reckless through the bleary, dull days of summer until the monotony is interrupted by the arrival of two guests from the big city. The events of this one weekend will alter the course of Ruthie’s adolescence and lead to a devastating tragedy. Set against the shifting political tensions of the late 1970s and written in prose that is both poetic and evocative, Ruthie and Sip powerfully captures a young girl’s sudden end of innocence.

Since the 1960s, British multi-media artist Peter Greenaway has shocked and intrigued audiences with his avant-garde approach to filmmaking and other artistic ventures. From early experimental films to provocative features, Greenaway has deployed strategies associated with structuralist cinema, only to challenge or critique the very limits of that cinema and of film in general. In this collection of essays, scholars from a variety of disciplines explore various postmodern and poststructuralist aspects of Greenaway's films, starting with his early shorts and delving into his feature-length works, including The Draughtman's Contract, The Belly of an Architect, A Zed and Two Noughts, The Cook, the Thief, His Wife and Her Lover, The Baby of M%con, and The Pillow Book. Other artistic productions, including his paintings and installations are also discussed. These essays examine the filmmaker's position within British and avant-garde cinema and his interest in constructing and deconstructing representational systems. In the years since the first edition of this book, Greenaway has enjoyed continued success in creating hybridized media projects for the stage and screen, as evidenced by additional essays for this revised edition. A new chapter addresses how Dutch political events and Dutch art have been crucial in shaping Greenaway's aesthetic, focusing on The Draughtsman's Contract, the 1991 opera Writing to Vermeer, and Nightwatching, the audio-visual installation and 2007 film of the same name, which were inspired by Rembrandt's Night Watch. Also new to this collection is an essay that examines Greenaway's most ambitious endeavor to date, The Tulse Luper Suitcases, which exists as four feature films, multiple websites, an online game, several books and installations, and a number of theatrical events. Peter Greenaway's Postmodern/Poststructuralist Cinema, Revised Edition explores the cultural, historical, and philosophical implications of this hybrid artist whose paintings, drawings, exhibitions, installations, and operatic productions are an intrinsic part of his work in film. This collection of diverse essays, which includes two texts by Greenaway, two interviews with the director, and a revised filmography, will interest students, teachers, critics and lovers of both postmodern art and cinema.

With Nightwatcher, New York Times and USA Today bestselling author Wendy Corsi Staub delivers a ripped-from-the-headlines masterwork of suspense. New York City, September 11, 2001. In the chaotic wake of America’s worst national nightmare, a serial killer plies his bloody trade following the terrorist attacks, operating unnoticed by everyone . . . except for one frightened woman who has seen his face. And now Allison Taylor has become a target for a merciless predator stalking the denizens of a city on the edge . . . Praise for Wendi Corsi Staub and the Nightwatcher novels “Solid gold suspense . . . this one is a wild ride.” —#1 New York Times bestselling author Lee Child “If you like Mary Higgins Clark, you’ll love Wendy Corsi Staub!” —#1 New York Times bestselling author Lisa Jackson “Staub is boss when it comes to relaying fictionalized accounts of revulsion . . . Suspenseful, powerful, tense and—as usual—wonderfully written with an ending that will leave you guessing . . . A great read!” —Suspense Magazine “The thrills are near constant and combined with the waking nightmare state of 9/11, result in a high-tension and deeply visceral tale that will leave readers in a crippling state of uncertainty. The fear, the paranoia, the desperation—it leaps right off the page and gets under your skin.” —Criminal Element Nightwatcher Nightwatcher Sleepwalker Shadowkiller

A captivating literary portrait of London explored at night by some of the city’s most iconic writers throughout history “Cities, like cats, will reveal themselves at night,” wrote the poet Rupert Brooke. Before the age of electricity, the nighttime city was a very different place to the one we know today – home to the lost, the vagrant and the noctambulant. Matthew Beaumont recounts an alternative history of London by focusing on those of its denizens who surface on the streets when the sun’s down. If nightwalking is a matter of “going astray” in the streets of the metropolis after dark, then nightwalkers represent some of the most suggestive and revealing guides to the neglected and forgotten aspects of the city. In this brilliant work of literary investigation, Beaumont shines a light on the shadowy perambulations of poets, novelists and thinkers: Chaucer and Shakespeare; William Blake and his ecstatic peregrinations and the feverish ramblings of opium addict Thomas De Quincey; and, among the lamp-lit literary throng, the supreme nightwalker Charles Dickens. We discover how the nocturnal city has inspired some and served as a balm or narcotic to others. In each case, the city is revealed as a place divided between work and pleasure, the affluent and the indigent, where the entitled and the desperate jostle in the streets. With a foreword and afterword by Will Self, Nightwalking is a fascinating literary exploration of the writers who traverse the city at night and the people they meet.

I thought everything would change, after the war. And now, no one even mentions it. It is as if we all got together in private and said whatever you do don't mention that, like it never happened. It's the late 1940s. Calm has returned to London and five people are recovering from the chaos of war. In scenes set in a quiet dating agency, a bombed-out church and a prison cell, the stories of these five lives begin to intertwine and we uncover the desire and regret that has bound them together. Sarah Waters's story of illicit love and everyday heroism takes us from a dazed and shattered post-war Britain back into the heart of the Blitz, towards the secrets that are hidden there. Olivier-nominated playwright Hattie Naylor has created a thrilling and theatrically inventive adaptation of a great modern novel. The stage adaptation of The Night Watch was premiered at the Royal Exchange Theatre, Manchester, on 16 May 2016.