It's little sister vs. big in this fresh take on a classic struggle by a master storyteller.Everything ten year-old Sprig wants, her older sister Dakota already has. Everything Sprig does, Dakota does better. And anytime Sprig complains, Dakota just grins and calls her a baby. It's enough to make a kid wish her sister would disappear.But in a year when Sprig's father is away, her favorite neighbor is ill, and the class bully is acting almost like, well, a boyfriend, Sprig discovers that allies come in unexpected shapes. Sometimes they're even related to you.

The Dry meets The Silence of the Lambs in this intoxicating tale of literary suspense, set in the relentless Alaskan landscape, about madness and obsession, loneliness and grief, and the ferocious bonds of family.... My proposition is very simple: I am going to ask you for three gifts, and for each gift you deliver, I will take you one step closer to Jacqueline. It's been twenty years since Elisabeth's twin sister, Jacqueline, disappeared without a trace. Now thirty-year-old Elisabeth is living far from home in a small Alaskan town. She's in a loveless marriage and has a precocious young daughter she loves more than anything but who reminds her too much of her long-missing sister. But then Alfred, a dangerous stranger with a plan of his own, arrives in town and commits an inexplicable act of violence. And he offers a startling revelation: He knows exactly what happened to Elisabeth's sister, but he'll reveal this truth only if she fulfills his three requests. Increasingly isolated from her neighbors and imprisoned by the bitter cold and her own obsession, Elisabeth can almost hear her sister's voice saying, Come and find me. And so she will, even if it means putting herself--and her family--in danger.

He could be any man, any respectable, ordinary man. But he's not. This man watches the five Herbert girls—Beauty, Mim, Stevie, Fancy, and Autumn—with disturbing fascination. Unaware of his scrutiny and his increasingly agitated and forbidden thoughts about them, the sisters go on with their ordinary everyday lives—planning, arguing, laughing, and crying—as if nothing bad could ever breach the safety of their family. In alternating points of view, Norma Fox Mazer manages to interweave the lives of predator and prey in this unforgettable psychological thriller.

ALICE FEENEYS NEW YORK TIMES AND INTERNATIONAL BESTSELLER “Boldly plotted, tightly knotted—a provocative true-or-false thriller that deepens and darkens to its ink-black finale. Marvelous.” —AJ Finn, author of The Woman in the Window My name is Amber Reynolds. There are three things you should know about me: 1. I’m in a coma. 2. My husband doesn’t love me anymore. 3. Sometimes I lie. Amber wakes up in a hospital. She can’t move. She can’t speak. She can’t open her eyes. She can hear everyone around her, but they have no idea. Amber doesn’t remember what happened, but she has a suspicion her husband had something to do with it. Alternating between her paralyzed present, the week before her accident, and a series of childhood diaries from twenty years ago, this brilliant psychological thriller asks: Is something really a lie if you believe it's the truth?

Jessie’s father has always been a missing piece of her life—but if she were to find him, how would he feel about her? Jessie Wells thinks four is a good number. Things with four sides are sturdy and strong. A box, a chair, a room with four walls. But ever since the day Jessie’s dad left, Jessie, her mother, and Aunt Zis have been a triangle—three-sided, though solidly linked. Jessie has heard the story: Her beautiful young mother had married a prince who disappeared one day, so she had raised her daughter with the help of Aunt Zis. But lately, the picture in Jessie’s mind seems incomplete. Who is James Wells? she wonders. He must be more than just a deadbeat dad who deserted his wife and child, and Jessie is determined to find out, even if she has to call every Wells in the phone book—and there are a lot of them. But if Jessie finds her father and asks him all her questions, will she like the answers?

Vicki wishes she could solve her problems as easily as she can arrange words into a poem Vicki Marnet has two wonderful big brothers who are completely regular people. They like sports, chess, and the student senate, and are totally normal—unlike Vicky, who feels in her heart that she’s different. For one thing, she writes poetry for fun. She plays with sonnets, pantoums, sestinas—all kinds of stanzas and rhymes, anything to take her mind off what’s happening at home. Vicki’s dad lost his job, and since he can’t find another one, her family is moving to the city. They’re selling their big house, moving into a tiny apartment, and facing troubles that Vicki has never known before. Ashamed and slow to make friends at her new school, Vicki puts her thoughts down in verse as she makes a new place for herself—one that’s very much her very own.

A bone-chilling read about creating monsters, sisterhood turned toxic, and secrets that won't stay buried, perfect for fans of The Night She Disappeared, Wilder Girls, and The Blair Witch Project. Sixteen-year-old Skye is done playing the knight in shining armor for her insufferable younger sister, Deirdre. And moving across the country seems like the perfect chance to start over as someone different. In their isolated new neighborhood, Skye manages to fit in, but Deirdre withdraws from everyone, becoming fixated on the swampy woods behind their house and building monstrous sculptures out of sticks and bones. Then Deirdre disappears. And when something awful comes scratching at Skye's window in the middle of the night, claiming Skye's the only one who can save Deirdre, Skye knows she will stop at nothing to bring her sister home. A great buy for readers who want: young adult horror books the teen girl book best sellers of 2018 creepy stories Praise for Here There Are Monsters: "Thick with atmosphere and tension, Here There Are Monsters does what fairy tales do: it edifies as it terrifies."—Foreword *STARRED REVIEW* "Seamlessly executed... an intricate, subtle, and deeply unsettling read."—Kirkus "Dark and eerie with just the right amount of creepiness...perfect for any fan of young adult horror."—School Library Journal "Everything and everyone reeks of malice while nothing and no one can be trusted—perfect conditions for a compelling YA horror."—Shelf Awareness "The horror of this creepy tale rests upon an increasing sense of inevitability and powerlessness against the spirit entities that inhabit the woods."—BCCB Also by Amelinda Bérubé: The Dark Beneath the Ice

The Story of the Lost Child is the long-awaited fourth volume in the Neapolitan novels (My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay). The quartet traces the friendship between Elena and Lila, from their childhood in a poor neighbourhood in Naples, to their thirties, when both women are mothers but each has chosen a different path. Their lives are still inextricably linked, for better or worse, especially when it comes to the drama of a lost child. Elena Ferrante was born in Naples. She is the author of seven novels: The Days of Abandonment, Troubling Love, The Lost Daughter, and the quartet of Neapolitan novels: My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay, and The Story of the Lost Child. Frantugmalia, a selection of interviews, letters and occasional writings by Ferrante, will be published in 2016. She is one of Italy’s most acclaimed authors. Ann Goldstein has translated all of Elena Ferrante’s work. She is an editor at the New Yorker and a recipient of the PEN Renato Poggioli Translation Prize. Praise for Ferrante and the Neapolitan novels ‘[Ferrante’s] charting of the rivalries and sheer inscrutability of female friendship is raw. This is high stakes, subversive literature.’ Sunday Telegraph ‘Ferrante is an expert above all at the rhythm of plotting...Whether it’s work, family, friends or sex–and Ferrante, perhaps thanks to her anonymity as an author, is blisteringly good on bad sex–our greatest mistakes in life aren’t isolated acts; we rehearse them over and over until we get them as badly wrong as we can.’ Independent ‘Great novels are intelligent far beyond the powers of any character or writer or individual reader, as are great friendships, in their way. These wonderful books sit at the heart of that mystery, with the warmth and power of both.’ Harper’s ‘Elena Ferrante is one of the great novelists of our time. Her voice is passionate, her view sweeping and her gaze basilisk...In these bold, gorgeous, relentless novels, Ferrante traces the deep connections between the political and the domestic. This is a new version of the way we live now—one we need, one told brilliantly, by a woman.’ New York Times Sunday Book Review ‘When I read [the Neapolitan novels] I find that I never want to stop. I feel vexed by the obstacles—my job, or acquaintances on the subway—that threaten to keep me apart from the books. I mourn separations (a year until the next one—how?). I am propelled by a ravenous will to keep going.’ New Yorker ‘The best thing I’ve read this year, far and away...She puts most other writing at the moment in the shade. She’s marvellous.’ Richard Flanagan ‘The Neapolitan series stands as a testament to the ability of great literature to challenge, flummox, enrage and excite as it entertains.’ Sydney Morning Herald ‘The depth of perception Ms. Ferrante shows about her character’s conflicts and psychological states is astonishing...Her novels ring so true and are written with such empathy that they sound confessional.’ Wall Street Journal ‘The older you get, the harder it is to recapture the intoxicating sense of discovery that comes when you first read George Eliot, Nabokov, Tolstoy or Colette. But this year it came again when I read Elena Ferrante’s remarkable Neapolitan novels.’ Jane Shilling, New Statesman ‘There is nothing remotely tiring or trying about the experience of reading the Neapolitan novels, which I, and a great many others, now rank among our greatest book-related pleasures...it is writing that holds honesty dear.’ Weekend Australian ‘Dickens gave working people a voice. Ferrante, whoever she might be, presents a new paradigm for being female in the world...Ferrante’s great literary creations, Lenu and Lila, have the same emotional weight as Anne in Persuasion, Jo in Little Women, Maggie in The Mill on the Floss, Jane in Jane Eyre.’ Helen Elliott in the Monthly ‘This stunning conclusion further solidifies the Neapolitan novels as Ferrante’s masterpiece and guarantees that this reclusive author will remain far from obscure for years to come.’ Publishers Weekly ‘The Neapolitan novels are smart, thoughtful, serious literature. At the same time, they are violent, suspenseful soap operas populated with a vivid cast of scheming characters...Ferrante’s novels are deeply personal and intimate, getting to the very heart of what it means to be a woman, a friend, a daughter, a mother.’ Debrief Daily ‘Shattering and enthralling, intimate and vicious...The Neapolitan Novels are the kind of books that swallow me whole. As soon as I pick one up, I don’t want to breathe or move lest I break the spell...The Neapolitan Novels are among the most important in my reading life. I can’t recommend them highly enough.’ Readings ‘Ferrante captures the complexities of women, friendship and motherhood in ways that make your heart soar and ache in equal measures. If you haven’t already, treat yourself to this series.’ ELLE Australia ‘[Ferrante’s] Neapolitan novels contain real life – recognisable anxiety, joy, love and heartbreak. This is an incredibly difficult feat to achieve in the first place, let alone sustain, over four books. We will be talking about Elena and Lila for years to come.’ Sydney Morning Herald ‘There's a bright, sinewy humanness to Ferrante’s writing that is so alive it's alarming...The Story of the Lost Child is a full emotional experience, and a fitting end to a huge, arresting series.’ New Zealand Listener ‘I was one of the many who wept and wondered over Elena Ferrante’s The Story of the Lost Child. I plan to re-read the entire series soon.’ Favourite Feminist Reads from 2016, Feminist Writers Festival

My sister Rose lives on the mantelpiece. Well, some of her does. A collarbone, two ribs, a bit of skull, and a little toe. !--StartFragment-- To ten-year-old Jamie, his family has fallen apart because of the loss of someone he barely remembers: his sister Rose, who died five years ago in a terrorist bombing. To his father, life is impossible to make sense of when he lives in a world that could so cruelly take away a ten-year-old girl. To Rose's surviving fifteen year old twin, Jas, everyday she lives in Rose's ever present shadow, forever feeling the loss like a limb, but unable to be seen for herself alone. Told with warmth and humor, this powerful novel is a sophisticated take on one family's struggle to make sense of the loss that's torn them apart... and their discovery of what it means to stay together. !--EndFragment--

Winner of American Library Association Schneider Family Book Award! Bobby Phillips is an average fifteen-year-old-boy. Until the morning he wakes up and can't see himself in the mirror. Not blind, not dreaming-Bobby is just plain invisible. There doesn't seem to be any rhyme or reason to Bobby's new condition; even his dad the physicist can't figure it out. For Bobby that means no school, no friends, no life. He's a missing person. Then he meets Alicia. She's blind, and Bobby can't resist talking to her, trusting her. But people are starting to wonder where Bobby is. Bobby knows that his invisibility could have dangerous consequences for his family and that time is running out. He has to find out how to be seen again-before it's too late.