Will Self and Ralph Steadman join forces once again in a further post-millennial meditation on the vexed relationship of psyche and place in a globalised world; Psycho Too brings together a second helping of their very best words and pictures from 'Psychogeography', the columns they contributed to the Independent for half a decade. The introduction, 'Journey Through Britain' is a new extended essay by Self, accompanied by Steadman's inimitable images. It tells of how Self journeyed to Dubai, that Götterdammerung of the contemporary built environment, in order to walk the length of the artificial Britain-shaped island, in the offshore luxury housing development known as 'The World'. Ranging from Istanbul to Los Angeles and from the crumbling coastline of East Yorkshire to the adamantine heads of Easter Island, Will Self's engaging and disturbing vision is once again perfectly counter-pointed by Ralph Steadman's edgy and dazzling artwork.

August Mulvaney has always been exceptional. As the genius son of an eccentric billionaire, his off-putting behavior is often blamed on his high IQ. They say there’s a thin line between genius and madness. August is both—a brilliant professor loved by his students and a ruthless, obsessive killer tasked with righting the wrongs of a failing justice system. And he’s just found his latest obsession: Lucas Blackwell. Lucas Blackwell was once the golden child of the FBI, using his secret talent as a clairvoyant to help put away society’s worst. Until, with a touch, he discovers his co-worker is a killer and his life falls apart. Now, the world thinks he’s crazy and that co-worker wants him dead. He seeks refuge at a small college, hoping to rebuild his life and his reputation. But then he runs into August Mulvaney. Literally. August is immediately intrigued with Lucas and his backstory. He doesn’t believe in psychics, but there’s no missing the terror in his eyes when they collide in the hallway. Now, August has a problem. Lucas knows his secret, and August knows he wants Lucas. And August always gets what he wants. Can he convince Lucas that not all killers are created equal and that having a psychopath in his corner—and in his life—might be just what he needs? Psycho is a fast-paced, thrill ride of a romance with an HEA and no cliffhangers. It features a psychopath hell-bent on romance and a disgraced FBI agent attempting to redeem himself. As always, there’s gratuitous violence, very dark humor, and scenes so hot it will melt your kindle. This is book two in the Necessary Evils series. Each book follows a different couple.

A cult classic, adapted into a film starring Christian Bale. Is evil something you are? Or is it something you do? Patrick Bateman has it all: good looks, youth, charm, a job on Wall Street, reservations at every new restaurant in town and a line of girls around the block. He is also a psychopath. A man addicted to his superficial, perfect life, he pulls us into a dark underworld where the American Dream becomes a nightmare . . . With an introduction by Irvine Welsh, Bret Easton Ellis's American Psycho is one of the most controversial and talked-about novels of all time. A multi-million-copy bestseller hailed as a modern classic, it is a violent black comedy about the darkest side of human nature.

A monster is on the loose. And he has a sidekick. Agent Abby Kane believes the Monster is doing whatever it takes to protect his criminal app enterprise, even if it means going on a gruesome killing spree. To stop him and his team, Abby must go on the offensive, but doing so risks making her family a target. To complicate matters, someone from her partner's past has returned, and he has every intention of stopping her. Can Abby put an end to the Monster’s rampage? Can she keep her family safe? Good Bad Psycho is book three in the heart-pounding Fury trilogy.

Philip L. Simpson provides an original and broad overview of the evolving serial killer genre in the two media most responsible for its popularity: literature and cinema of the 1980s and 1990s. The fictional serial killer, with a motiveless, highly individualized modus operandi, is the latest manifestation of the multiple murderers and homicidal maniacs that haunt American literature and, particularly, visual media such as cinema and television. Simpson theorizes that the serial killer genre results from a combination of earlier genre depictions of multiple murderers, inherited Gothic storytelling conventions, and threatening folkloric figures reworked over the years into a contemporary mythology of violence. Updated and repackaged for mass consumption, the Gothic villains, the monsters, the vampires, and the werewolves of the past have evolved into the fictional serial killer, who clearly reflects American cultural anxieties at the start of the twenty-first century. Citing numerous sources, Simpson argues that serial killers’ recent popularity as genre monsters owes much to their pliability to any number of authorial ideological agendas from both the left and the right ends of the political spectrum. Serial killers in fiction are a kind of debased and traumatized visionary, whose murders privately and publicly re-empower them with a pseudo-divine aura in the contemporary political moment. The current fascination with serial killer narratives can thus be explained as the latest manifestation of the ongoing human fascination with tales of gruesome murders and mythic villains finding a receptive audience in a nation galvanized by the increasingly apocalyptic tension between the extremist philosophies of both the New Right and the anti-New Right. Faced with a blizzard of works of varying quality dealing with the serial killer, Simpson has ruled out the catalog approach in this study in favor of in-depth an analysis of the best American work in the genre. He has chosen novels and films that have at least some degree of public name-recognition or notoriety, including Red Dragon and The Silence of the Lambs by Thomas Harris, Manhunter directed by Michael Mann, Henry: Portrait of a Serial Killer directed by John McNaughton, Seven directed by David Fincher, Natural Born Killers directed by Oliver Stone, Zombie by Joyce Carol Oates, and American Psycho by Bret Easton Ellis.

The New York Times bestselling author of American Psycho and Less Than Zero delivers a gripping and brilliant dissection of our celebrity obsessed culture. • “Arguably the novel of the 1990’s…Should establish Ellis as the most ambitious and fearless writer of his generation…a must read.” —The Seattle Times Set in 90s Manhattan, Victor Ward, a model with perfect abs and all the right friends, is seen and photographed everywhere, even in places he hasn't been and with people he doesn't know. He's living with one beautiful model and having an affair with another on the eve of opening the trendiest nightclub in New York City history. And now it's time to move to the next stage. But the future he gets is not the one he had in mind. With the same deft satire and savage wit he has brought to his other fiction, Bret Ellis gets beyond the facade and introduces us, unsparingly, to what we always feared was behind it. Glamorama shows us a shadowy looking-glass reality, the juncture where fame and fashion and terror and mayhem meet and then begin to resemble the familiar surface of our lives. Look for Bret Easton Ellis’s new novel, The Shards!