An audacious and terrifying new thriller from the author of the international bestseller The Genesis Secret. When David Martinez receives an ancient map from his dying grandfather, he is led into the heart of the Basque mountains, where a genetic curse lies buried- and a frightening secret about the Western world is hidden. Meanwhile, London journalist Simon Quinn is investigating two violent murders. Both victims had once been interned in a top-secret Nazi camp-and both came from the Basque region. With The Marks of Cain, Tom Knox (The Lost Goddess) delivers on the promise of his astonishing debut novel, crafting a terrifying and even more ambitious thriller that delves into the shocking truth of what drives human beings to violence, genocide, and war.

When a man is consumed by hatred, is there anything left to love? After a tough day of counseling sessions, Anglican priest Mark Webber is looking forward to a relaxing dinner at a local restaurant. When he sees who's bellied up to the bar, though, he reaches for his cell phone to call the police. It's Lucas Cain, the man who killed Mark's brother three years ago. Apparently he's out of jail and hanging out with his old crowd, which has to be a breach of parole, right? Pulled over upon leaving the bar, Lucas blows a clean breathalyzer and hopes this isn't a harbinger of things to come. He's ready to build a sober, peaceful life. His friends aren't ready to let him move on, though, and he ends up taking refuge in an Anglican half-way house. Thrown together, Mark and Lucas find common ground in the struggle to help a young gay man come to terms with his sexuality-and the fight against homophobic townsfolk. As attraction grows, the past is the last stumbling block between them and a future filled with hope. Warning: Bad boys being good, good boys being bad.

A spine-chilling companion to Long Lankin, here is the story of a wronged witch’s revenge, spanning generations and crossing the shadowy line between life and death. In 1567, baby Aphra is found among the reeds and rushes by two outcast witches. Even as an infant, her gifts in the dark craft are clear. But when her guardians succumb to an angry mob, Aphra is left to fend for herself. She is shunned and feared by all but one man, the leper known as Long Lankin. Hounded and ostracized, the two find solace only in each other, but even this respite is doomed, and Aphra’s bitterness poisons her entire being. Afflicted with leprosy, tortured and about to be burned as a witch, she manages one final enchantment—a curse on her tormentor’s heirs. Now, in 1962, Cora and Mimi, the last of a cursed line, are trapped in an ancient home on a crumbling estate in deepest winter, menaced by a spirit bent on revenge. Are their lives and souls forfeit forever?

The Mark of Cain fleshes out a history of conversations that contributed to Germany's coming to terms with a guilty past. Katharina von Kellenbach draws on letters exchanged between clergy and Nazi perpetrators, written notes of prison chaplains, memoirs, sermons, and prison publications to illuminate the moral and spiritual struggles of perpetrators after World War II. These documents provide intimate insights into the self-reflection and self-perception of perpetrators. As Germany looks back on more than sixty years of passionate debate about political, personal and legal guilt, its ongoing engagement with the legacy of perpetration has transformed German culture and politics. The willingness to forgive and forget displayed by the father in the parable of the Prodigal Son became the paradigm central to Germany's rehabilitation and reintegration of Nazi perpetrators. The problem with Luke's parable in this context is that, unlike the son in the parable, perpetrators did not ask for forgiveness. Most agents of state crimes felt innocent. Von Kellenbach proposes the story of the mark of Cain as a counter narrative. In contrast to the Prodigal Son, who is quickly forgiven and welcomed back into the house of the father, the fratricidal Cain is charged to rebuild his life on the basis of open communication about the past. The story of the Prodigal Son equates forgiveness with forgetting; Cain's story links redemption with remembrance and suggests a strategy of critical engagement with perpetrators.

In an exquisitely chilling debut novel, four children unravel the mystery of a family curse — and a ghostly creature known in folklore as Long Lankin. When Cora and her younger sister, Mimi, are sent to stay with their elderly aunt in the isolated village of Byers Guerdon, they receive a less-than-warm welcome. Auntie Ida is eccentric and rigid, and the girls are desperate to go back to London. But what they don’t know is that their aunt’s life was devastated the last time two young sisters were at Guerdon Hall, and she is determined to protect her nieces from an evil that has lain hidden for years. Along with Roger and Peter, two village boys, Cora must uncover the horrifying truth that has held Bryers Guerdon in its dark grip for centuries — before it’s too late for little Mimi. Riveting and intensely atmospheric, this stunning debut will hold readers in its spell long after the last page is turned.

Cursed by God, hunted by demons, desired by Cain and Abel... All in a day's work. For Evangeline Hollis, a long ago fling with a bad boy from the wrong side of the tracks just became a disaster of biblical proportions. One night with a leather-clad man of mystery has led to a divine punishment: the Mark of Cain. Thrust into a world where sinners are drafted into service to kill demons, Eve's learning curve is short. A longtime agnostic, she begrudgingly maneuvers through a celestial bureaucracy where she is a valuable but ill-treated pawn. She's also become the latest point of contention in the oldest case of sibling rivalry in history... But she'll worry about all that later. Right now she's more concerned with learning to kill while staying alive. And saving the soul she'd never believed she had ... in S.J. Day's Eve of Darkness. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

How could he murder a brother, his sister-in-law, his young niece and nephew as they slept in their beds? Jerry Mark was a Peace Corps volunteer, lawyer, 4-H leader, vice-president of his Cedar Falls H.S. senior class when he graduated in 1960.

Having lost himself in extreme sports since the death of his wife, sculptor Tim Overleigh joins a team of men bent on climbing the Godesh Ridge in Nepal in order to stop his downward spiral, only to find what was supposed to be a journey based in Tibetan mysticism to be an experiment in terror.

For few verses in the Bible is the relationship between scripture and the artistic imagination more intriguing than for the conclusion of Genesis 4:15: "And the Lord set a mark upon Cain, that whosoever found him should not kill him." What was the mark of Cain? The answers set before us in this sensitive study by art historian Ruth Mellinkoff are sometimes poignant, frequently surprising. An early summary of rabbinic answers, for examples runs as follows: R. Judah said: "He caused the orb of the sun to shine on his account." Said R. Nehemiah to him: "For that wretch He would cause the orb of the sun to shine! Rather, he caused leprosy to break out on him...." Rab said: "He gave him a dog." Abba Jose said: "He made a horn grow out of him." Rab said: "He made him an example to murderers." R. Hanin said: "He made him an example to penitents." R. Levi said in the name of R. Simeon b. Lakish: "He suspended judgment until the flood came and swept him away." After a review of such early Jewish and Christian exegesis, Mellinkoff divides physical interpretations on the mark into three groups: "A Mark on Cain's Body," "A Movement of Cain's Body," and "A Blemish Associated with Cain's Body." Her discussion of these groups is the heart of her study and offers its richest examples of interplay among medieval art and imaginative literature, on the one hand, and biblical exegesis, on the other. Thus in one remarkable tour de force, she shows us how a poetic misprision of Genesis 4:24 - "Sevenfold vengeance will be taken for Cain: but for Lamech seventy times sevenfold" - made Lamech the murderer of Cain; how there then grew up the legend that Lamech, a hunter, had killed Cain when he mistook him for an animal; how from that, the notion that the mark of Cain was a horn or horns on Cain's head arose (in the poignant formulation of the Tanhuma Midrash: "Oh father, you have killed something that resembles a man except it has a horn on its forehead!"); and how from that, in the maturity of the legend, there flowered Cornish drama, Irish saga, and stunning reliefs of a dying, antlered Cain in the cathedrals of Vezelay and Autun. Like Genesis 4:15 itself, 'The Mark of Cain' is suggestive rather than comprehensive. Concluding chapters on "Intentionally Distorted Interpretations of Cain's Mark" and "Cain's Mark and the Jews" bring the history down to our own day, but Mellinkoff does not claim to have said the last word on the subject. Her achievement is neither documentary nor exegetical but rather demonstrative: she shows us with brilliant economy how the artistic imagination functioned in a world whose intellectual definition was a closed canonical text.

FINALIST FOR THE CENTER FOR FICTION'S FIRST NOVEL PRIZE "Cain’s small but mighty novel reads like a ghost story and packs the punch of a feminist classic." —The New York Times Book Review A haunted feminist fable, Amina Cain’s Indelicacy is the story of a woman navigating between gender and class roles to empower herself and fulfill her dreams. In "a strangely ageless world somewhere between Emily Dickinson and David Lynch" (Blake Butler), a cleaning woman at a museum of art nurtures aspirations to do more than simply dust the paintings around her. She dreams of having the liberty to explore them in writing, and so must find a way to win herself the time and security to use her mind. She escapes her lot by marrying a rich man, but having gained a husband, a house, high society, and a maid, she finds that her new life of privilege is no less constrained. Not only has she taken up different forms of time-consuming labor—social and erotic—but she is now, however passively, forcing other women to clean up after her. Perhaps another and more drastic solution is necessary? Reminiscent of a lost Victorian classic in miniature, yet taking equal inspiration from such modern authors as Jean Rhys, Octavia Butler, Clarice Lispector, and Jean Genet, Amina Cain's Indelicacy is at once a ghost story without a ghost, a fable without a moral, and a down-to-earth investigation of the barriers faced by women in both life and literature. It is a novel about seeing, class, desire, anxiety, pleasure, friendship, and the battle to find one’s true calling.