Devika has an unstable mind, or so the doctors have been saying. While working on her second book, she starts receiving letters from an enigmatic woman who was already dead. While a bewildered police force investigates mysterious cases happening around town, Devika decides to unfold the true story behind these strange psychotic incidents and the purpose of those letters. Is there more to all this than what meets the eye? Is all this real at all, or just a figment of her imagination? In her search for truth, Devika cannot trust anybody, not even herself. Struggling between her volatile mind and a personal crisis that saps every bit of sanity out of her, Devika has to find answers. She has to take the journey which could take her to the doorstep of a complete mental breakdown…a wild ride between the real and the paranormal world to find the truth behind The Dead Woman Writing.

A grieving widow and professional mortician discovers there was more to the hit-and-run accident that took her husband's life than she originally thought, and vows to find out and get revenge on those responsible.

“Dear Ava, I loved your book.” —Award-winning actress Emma Watson For fans of Kathleen Glasgow and Amber Smith, Ava Dellaira writes about grief, love, and family with a haunting and often heartbreaking beauty in this emotionally stirring, critically acclaimed debut novel, Love Letters to the Dead. It begins as an assignment for English class: Write a letter to a dead person. Laurel chooses Kurt Cobain because her sister, May, loved him. And he died young, just like May did. Soon, Laurel has a notebook full of letters to people like Janis Joplin, Amy Winehouse, Amelia Earhart, Heath Ledger, and more—though she never gives a single one of them to her teacher. She writes about starting high school, navigating new friendships, falling in love for the first time, learning to live with her splintering family. And, finally, about the abuse she suffered while May was supposed to be looking out for her. Only then, once Laurel has written down the truth about what happened to herself, can she truly begin to accept what happened to May. And only when Laurel has begun to see her sister as the person she was—lovely and amazing and deeply flawed—can she begin to discover her own path.

Dead Woman Pickney chronicles Yvonne Shorter Brown’s life growing up in Jamaica between 1943 and 1965 and teaching in Canada from 1969. Told with stridency and humour, the stories include both personal experience and history. Taking up the haunting memories of childhood, along with persistent racial marginalization of Black people, both globally and in Canada, the author sets out to construct a narrative that at once explains her own origins in the former slave society of Jamaica and traces the outsider status of Africa and its peoples. The author’s quest to understand the absence of her mother and her mother’s people from her life is at the heart of the narrative. The author struggles through life to discover the identity of her mother in the face of silence from her father’s brutal family. In this updated edition she adds a coda, “finding mother”, constructed from archives, genealogy, letters, and journals. Initially published in 2010, this second edition includes expanded text and a foreword by Sonja Boon, author of What the Oceans Remember.

“Criminal, policeman, victim, Bolton plays the three sides of her triangle deftly against the middle . . . guaranteed to provide its share of chills.” —Kirkus Reviews In Dead Woman Walking, from master of suspense Sharon Bolton, the sole survivor of a hot-air balloon crash witnesses a murder as the balloon is falling. Just before dawn in the hills near the Scottish border, a man murders a young woman. At the same time, a hot-air balloon crashes out of the sky. There’s just one survivor. She’s seen the killer’s face—but he’s also seen hers. And he won’t rest until he’s eliminated the only witness to his crime. Alone, scared, trusting no one, she’s running to where she feels safe—but it could be the most dangerous place of all . . . “The satisfactions of a Bolton novel are many. Her plots fit together like a beautifully made jigsaw . . . the end could not be more satisfying.” —Mystery Scene Magazine “The plot will become unsettlingly twisty, but the author is an expert guide, taking readers on an exceptional and memorable adventure.” —Shelf Awareness “Bolton’s done it again, writing a terrifying, fast-paced, twisty thriller that will surprise you, reveal after reveal.” —RT Book Reviews “Thrilling and suspenseful. You will remain glued to its page until you finish it. It’s a necessary crime thriller for those who love crime thrillers.” —Washington Book Review

Brian Norman uncovers a curious phenomenon in American literature: dead women who nonetheless talk. These characters appear in works by such classic American writers as Poe, Dickinson, and Faulkner as well as in more recent works by Alice Walker, Toni Morrison, Tony Kushner, and others. These figures are also emerging in contemporary culture, from the film and best-selling novel The Lovely Bones to the hit television drama Desperate Housewives. Dead Women Talking demonstrates that the dead, especially women, have been speaking out in American literature since well before it was fashionable. Norman argues that they voice concerns that a community may wish to consign to the past, raising questions about gender, violence, sexuality, class, racial injustice, and national identity. When these women insert themselves into the story, they do not enter precisely as ghosts but rather as something potentially more disrupting: posthumous citizens. The community must ask itself whether it can or should recognize such a character as one of its own. The prospect of posthumous citizenship bears important implications for debates over the legal rights of the dead, social histories of burial customs and famous cadavers, and the political theory of citizenship and social death. -- Leonard Cassuto, author of Hard-Boiled Sentimentality: The Secret History of American Crime Stories

A serial killer terrorizes a small California town in this gripping thriller from #1 New York Times bestselling author Tami Hoag. California, 1985—Four children and young teacher Anne Navarre make a gruesome discovery: a partially buried female body, her eyes and mouth glued shut. A serial killer is at large, and the very bonds that hold their idyllic town together are about to be tested to the breaking point. Tasked with finding the killer, FBI investigator Vince Leone employs a new and controversial FBI technique called “profiling,” which plunges him into the lives of the four children—and the young teacher whose need to uncover the truth is as intense as his own. But as new victims are found and pressure from the media grows, Vince and Anne find themselves circling the same small group of local suspects, unsure if those who suffer most are the victims themselves—or those close to the killer, blissfully unaware that someone very near to them is a murderous psychopath…

Three Steps on the Ladder of Writing is a poetic, insightful, and ultimately moving exploration of 'the strange science of writing.' In a magnetic, irresistible narrative, Cixous reflects on the writing process and explores three distinct areas essential for 'great' writing: The School of the Dead--the notion that something or someone must die in order for good writing to be born; The School of Dreams--the crucial role dreams play in literary inspiration and output; and The School of Roots--the importance of depth in the 'nether realms' in all aspects of writing. Cixous's love of language and passion for the written word is evident on every page. Her emotive style draws heavily on the writers she most admires: the Brazilian novelist Clarice Lispector, the Russian poet Marina Tsvetaeva, the Austrian novelists Ingeborg Bachmann and Thomas Bernhard, Dostoyevsky and, most of all, Kafka.

Humorous essays on drinking with Dorothy Parker, Louisa May Alcott, Jane Austen, Erma Bombeck, The Bronte Sisters, Willa Cather, Emily Dickinson, George Eliot, Margaret Mead, Edna St. Vincent Millay, Margaret Mitchell, Carson McCullers, Flannery O'Connor, Sylvia Plath, Ayn Rand and Virginia Woolf. Most early female writers used pen names because women weren't regarded as competent writers. Margaret Mitchell wrote only one published novel in her lifetime, but Gone with the Wind won the Pulitzer Prize for Fiction in 1937 and sold more than 30 million copies. Emily Dickinson was so paranoid that she only spoke to people from behind a door. Carson McCullers wrote The Heart Is a Lonely Hunter at age 22. Her husband wanted them to commit suicide in the French countryside, but she refused. Ambrose and Turner explore these and other intriguing facts about the most famous (but departed) women in literary history.

Flynn tries to avoid the supernatural, but the infamous Dead Woman’s Pond seems to want her for its next victim. To survive, she’ll need to swallow her pride, accept her psychic girlfriend’s help... and reckon with her own latent abilities.