A follow-up to In the Woods finds a traumatized detective Cassie Maddox struggling in her career and relationship with Sam O'Neill while investigating the unsettling murder of a young woman whose name matches an alias Cassie once had used as an undercover officer. 50,000 first printing.

New York Times bestselling author Tana French, author of the forthcoming novel The Searcher, is “the most important crime novelist to emerge in the past 10 years” (The Washington Post) and “inspires cultic devotion in readers” (The New Yorker). “Required reading for anyone who appreciates tough, unflinching intelligence and ingenious plotting.” —The New York Times Now airing as a Starz series. In the “compellingˮ (The Boston Globe) and “pitch perfectˮ (Entertainment Weekly) follow-up to Tana French’s runaway bestseller In the Woods, Cassie Maddox has transferred out of the Dublin Murder Squad—until an urgent telephone call brings her back to an eerie crime scene. The victim looks exactly like Cassie and carries ID identifying herself as Alexandra Madison, an alias Cassie once used as an undercover cop. Suddenly, Cassie is back undercover, to find out not only who killed this young woman, but, more importantly, who she was. The Likeness is a supremely suspenseful story exploring the nature of identity and belonging.

Twenty years after witnessing the violent disappearances of two companions from their small Dublin suburb, detective Rob Ryan investigates a chillingly similar murder that takes place in the same wooded area, a case that forces him to piece together his traumatic memories.

While Detective Antoinette Conway and her partner Stephen Moran work a seemingly routine investigation of a lovers' quarrel gone bad, they discover the case isn't as by-the-numbers as they thought.

'One of the best crime writers working today' Guardian 'The Likeness isn't just a good page-turner, but a skilfully written modern novel' Sunday Independent Still traumatised by her brush with a psychopath, Detective Cassie Maddox transfers out of the Murder Squad and starts a relationship with fellow detective Sam ONeill. But she's too badly shaken to commit to him, or to her career. When Sam calls her to the scene of his new case, she is shocked to find that the murdered girl is her double. What's more, her ID says she is Lexie Madison - the identity Cassie used, years ago, as an undercover detective. With no leads, no suspects and no clues to Lexie's real identity, Cassie's old boss spots the opportunity of a lifetime: send Cassie undercover in the dead girl's place, to tempt the killer out of hiding to finish the job.

From Tana French, author of the forthcoming novel The Searcher, “the most important crime novelist to emerge in the past 10 years” (The Washington Post), the bestseller called “the most stunning of her books” (The New York Times) and a finalist for the Edgar Award. Back in 1985, Frank Mackey was a nineteen-year-old kid with a dream of escaping hisi family's cramped flat on Faithful Place and running away to London with his girl, Rosie Daly. But on the night they were supposed to leave, Rosie didn't show. Frank took it for granted that she'd dumped him-probably because of his alcoholic father, nutcase mother, and generally dysfunctional family. He never went home again. Neither did Rosie. Then, twenty-two years later, Rosie's suitcase shows up behind a fireplace in a derelict house on Faithful Place, and Frank, now a detective in the Dublin Undercover squad, is going home whether he likes it or not.

Anyone who has strolled through the halls of a museum knows that portraits occupy a central place in the history of art. But did portraits, as such, exist in the medieval era? Stephen Perkinson's "The likeness of the king" challenges the canonical account of the invention of modern portrait practices, offering a case against the tendency of recent scholarship to identify likenesses of historical personages as "the first modern portraits". Focusing on the Valois court of France, he argues that local practice prompted shifts in the late medieval understanding of how images could represent individuals and prompted artists and patrons to deploy likeness in a variety of ways.

Artists have always been fascinated by the special challenge of capturing the character, personality, and likeness of their portrait subjects. For the scupltor, clay is certainly the most sympathetic medium. Daisy Grubbs demonstrates in thorough detail a proven method for fashioning clay into convincing portraits. The book is for the beginning as well as the more experienced sculptor. The newcomer will find every detail he needs to know to model a faithful likeness, while the more knowledgeable artist will discover another artist’s approach sure to enlarge his own vocabulary and working methods.

Extraordinary photos that reveal the social, economic, and cultural realities of the Black South A True Likeness showcases the extraordinary photography of Richard Samuel Roberts (1880–1935), who operated a studio in Columbia, South Carolina, from 1920 to 1935. He was one of the few major African American commercial photographers working in the region during the first half of the twentieth century, and his images reveal the social, economic, and cultural realities of the black South and document the rise of a small but significant southern black middle class. The nearly two hundred photographs in A True Likeness were selected from three thousand glass plates that had been stored for decades in a crawl space under the Roberts home. The collection includes "true likenesses" of teachers, preachers, undertakers, carpenters, brick masons, dressmakers, chauffeurs, entertainers, and athletes, as well as the poor, with dignity and respect and an eye for character and beauty. Thomas L. Johnson and Phillip C. Dunn received a 1987 Lillian Smith Book Award for their work on this book. This new edition of A True Likeness features a new foreword by Elaine Nichols, the supervisory curator of culture at the Smithsonian National Museum of African American History and Culture in Washington, D.C. A new afterword is provided by Thomas L. Johnson.