Like the first two, this new thriller combines gripping contemporary suspense with a high-concept mystery rooted in history, philosophy, religion, and science. And like those novels, it is bound for bestseller lists nationwide. In Antarctica, a scientific expedition drops anchor for a live news feed. As the CNN journalist begins her report, a massive, shimmering sphere of light suddenly appears in the sky, enveloping the ship in luminous white light before disappearing as mysteriously as it arrived, the entire event witnessed by an incredulous world audience.Meanwhile in a dusty bar in Egypt, a dozen men are lazily discussing the state of the world when the brilliant, glowing symbol on the television stops them cold. One man breaks out in a sweat, crosses himself repeatedly, and rushes out of the bar muttering the same phrase over and over again: It can't be.Across the Internet and around the globe, a stunning controversy threatens to consume the world: Has God finally decided to reveal himself? Or is something more sinister at hand? Raymond Khoury/Steve Berry interview STEVE BERRY: Your new thriller, THE SIGN. I'm gonna come right out and say it: I think it's your best one yet. What do you think?RAMOND KHOURY: Tough call. It's my new baby, and much as I adore its elder siblings, it does have that newborn magic to it.STEVE: Trust me, it is. It's also a bit of a departure from your first two books, in that it doesn't have the past-and-present storylines. Knowing how stories kind of take on a life of their own, that wasn't a conscious decision from the get-go, was it?RAYMOND KHOURY: No, it wasn't premeditated. It's just the way the story came out. The whole story happens in the present. It takes place over a few manic days, I think you're familiar with that pacing, right? And it deals with the present, it's about a what if situation that's very today and now, there's a mystery, something to figure out, but there's no throwback to the past, no long lost secret to uncover.STEVE BERRY: It's also very topical. Your editors must be pleased.RAYMOND: I guess it happened that way because the story came out of some very strong feelings I had, feelings about what was going on around the world, in the US and abroad.STEVE: Tell me about that process. Where the story came from.RAYMOND: It's where they all come from, isn't it? That kernel, that one thought or one observation you have that just sticks and triggers a book, the one that bugs you late at night and that you can't shake. This one came to me while watching the news one day, and every item, one after another, it was all bad news. Not just bad, but it was like a lot of people were behaving so insanely in so many places around the world, and, sadly, a lot of it was fuelled by the manipulation or distortion of religious faith.STEVE: By intolerance?RAYMOND: Exactly. Intolerance and closed minds. And it got me thinking. About how divided we are, about how so many people all over the world believe in the absolute infallibility of their faith and how it rules every aspect of their lives, you know what I mean, we're right, everyone else is wrong, that medieval mindset and wondering if anything could ever unite the planet under a single faith.STEVE: One global religion. RAYMOND: Well, imagine if something did happen that convinced everyone that what we had until now, all these different religions that have grown over the last few thousand years, what if something new came along that was so overwhelming that it was impossible to ignore? Would we listen? Would we drop our previous faiths and embrace it?STEVE: But your book's about much more than that. Without wanting to give too much away, it's really a political thriller, isn't it?RAYMOND: It's always so hard to talk about a book without giving too much away.STEVE: It's the fine line we walk.RAYMOND: True. But yes, you're right, it's really about the absolute power something like that would bring, and how it could be abused. Cause above all else, it's a thriller. There's got to be a brilliantly dastardly scheme, right?STEVE: Always. And this one certainly is dastardly. One thing I've noticed, though, in all three of your books so far, they're all, essentially, about the big questions that face us: why we believe, whether or not we have to die. Religion, longevity, life and death, science vs. faith ... Big questions. And in this one, you revisit, though in a completely different way, the power of religion, the good it can bring as well as the bad, something that was also central to The Last Templar. Will this always be your signature genre, books that have a big, central theme at their core?RAYMOND: You asked me earlier about where the story came from. For me, in order to get excited about a book, it has to have a big central theme about how we live at its heart, something I'm interested in exploring. It's got to be about something I care about deeply. That's what drives the story and the characters forward for me. That's what I hope makes the books stand out. That they're not just page-turners, which ain't easy in itself, but that they're also about something. I see it in your books too. A point of view about things, a passion for laying out interesting information about a topic that interests you. Michael Crichton used to do that very successfully. Dan Brown, of course, does it brilliantly. That's what makes the books worth writing, I think.STEVE: And in reading the book, it's clear you still had tons of research to do, even though there isn't a historic mystery to unravel?RAYMOND: Absolutely. Some of it was about history, the monasteries in Egypt, for one. Again, part of the story, organically. Had to be done, and we do love our history, don't we?STEVE: Guilty as charged.RAYMOND: But for this book, I didn't need to do that much of it's nothing like what you did for THE CHARLEMAGNE PURSUIT, for instance. Which I loved, by the way. Particularly since you beat me to using the Voynich Manuscript in a story!STEVE: We do seem to be spookily in sync with our writing as further evidenced by THE SIGN's opening in Antarctica?RAYMOND: I know!STEVE: So tell me, Matt and Gracie. Are we going to see them again?RAYMOND: I don't know. On the one hand, I envy your situation with Cotton Malone, you've got a solid anchor for your books, you're building this great world around him, his son and Stephanie and Henrik and Cassiopeia, who I hope we see again real soon, and it's meaty and it's epic and like the rest of your readers, I'm hooked and I want to know what they do next. You've got that, Lee Child has had it since day one with Reacher, Harlan Coben with Myron Bolitar, the list goes on. Great characters. I'd love to do that one day, but it has to feel right. I wasn't in that frame of mind in my first two books, certainly the world after the end of THE SANCTUARY would be a very different place from the world Mia started out in at the beginning of that book. Tess and Reilly, I could maybe bring back. A lot of fans have asked for that. But with THE SIGN, Iinitely think Matt and Gracie are characters that I could bring back. I'd like to put them through another wringer, and it feels like it would come naturally. But before I do that, I'm writing the next book which introduces a new lead character, so they'll be getting a bit of a breather.STEVE: They sure can use it. Good luck with the book.RAYMOND: Thank you.

    In the first a doctor has to confront his father's killer, in the second a detective investigates a series of horrific murders, and in the third an international organization devises a masterplan of apocalyptic dimensions.

    But when a hit goes wrong and Schumann is nabbed, he’s offered a stark choice: kill Reinhard Ernst, the man behind Hitler’s rearmament scheme, and walk free forever—or be sent to Sing-Sing and the electric chair.The instant Paul sets foot in Berlin his mission becomes a deadly cat-and-mouse chase, with danger and betrayal lurking at every turn. For the next forty-eight hours, as the city prepares for the coming summer Olympics, Schumann stalks Ernst, while a dogged criminal police officer and the entire Third Reich security apparatus search frantically for the American. Packed with fascinating period detail and featuring a cast of perfectly realized local characters, Olympic athletes, and senior Nazi officials—some real, some fictional—Garden of Beasts dishes up breathtaking action, a wrenching look at Nazi-era Berlin, and a series of stunning plot twists. It is classic Deaver. (And there is also a slight Lincoln Rhyme connection for the discerning reader to find.)

    Harry Hubbard is the son and godson of CIA legends. His journey to learn the secrets of his society—and his own past—takes him through the Bay of Pigs, the Cuban Missile Crisis, and the “momentous catastrophe” of the Kennedy assassination. All the while, Hubbard is haunted by women who were loved by both his godfather and President Kennedy. Featuring a tapestry of unforgettable characters both real and imagined, Harlot’s Ghost is a panoramic achievement in the tradition of Tolstoy, Melville, and Balzac, a triumph of Mailer’s literary prowess.  Praise for Harlot’s Ghost  “[Norman Mailer is] the right man to exalt the history of the CIA into something better than history.”—Anthony Burgess, The Washington Post Book World   “Elegantly written and filled with almost electric tension . . . When I returned from the world of Harlot’s Ghost to the present I wished to be enveloped again by Mailer’s imagination.”—Robert Wilson, USA Today  “Immense, fascinating, and in large part brilliant.”—Salman Rushdie, The Independent on Sunday   “A towering creation . . . a fiction as real and as possible as actual history.”—The New York Times   Praise for Norman Mailer  “[Norman Mailer] loomed over American letters longer and larger than any other writer of his generation.”—The New York Times   “A writer of the greatest and most reckless talent.”—The New Yorker   “Mailer is indispensable, an American treasure.”—The Washington Post   “A devastatingly alive and original creative mind.”—Life   “Mailer is fierce, courageous, and reckless and nearly everything he writes has sections of headlong brilliance.”—The New York Review of Books   “The largest mind and imagination [in modern] American literature . . . Unlike just about every American writer since Henry James, Mailer has managed to grow and become richer in wisdom with each new book.”—Chicago Tribune   “Mailer is a master of his craft. His language carries you through the story like a leaf on a stream.”—The Cincinnati Post

    Set against the ever-building pressure and pace of a large Boston medical center, the tensions flare-and explode-when a surgical operation tragically ends in death, raising countless questions. Was it accidental malpractice? A violation of the Hippocratic oath? Or cold-blooded murder?

    . .1859. A man joins a whaling ship bound for the Arctic Circle. Having left the British Army with his reputation in tatters, Patrick Sumner has little option but to accept the position of ship's surgeon on this ill-fated voyage. But when, deep into the journey, a cabin boy is discovered brutally killed, Sumner finds himself forced to act. Soon he will face an evil even greater than he had encountered at the siege of Delhi, in the shape of Henry Drax: harpooner, murderer, monster . . . 'A tour de force' Hilary Mantel'Riveting and darkly brilliant' Colm Tóibín

    He doesn’t know who they are or where they came from, but one of them gives him a mysterious gold-and-diamond emblem before disembarking. Decades later, the captain’s son receives a substantial offer for it and is told an astounding story behind the object: it holds the key to Paul Reiner’s lifelong quest. . . . Munich, 1919. After his family falls into disgrace, fifteen-year-old Paul dreams of the heroic father he never knew. But one night, seconds before committing suicide, Paul’s cousin reveals a terrible secret about his father’s death. This discovery turns Paul’s world upside down and leads him on a hunt in Nazi Germany to uncover the mystery surrounding his father’s death. The Traitor’s Emblem is an epic novel spanning decades of family betrayal, impossible love, and the high price of vengeance. Set against the menacing streets of Depression-era Munich and the cruel rise of Nazism, Gómez-Jurado’s spellbinding thriller proves again that he is a master of narration.

    The character of The Business seems, even to her, to be vague to the point of invisibility. Her job is to keep abreast of technological developments, but she must let go the assumptions of a lifetime.

    The suspension of disbelief happens easily, as the reader is led through twisted family trees and plot lines. The quincunx of the title is a heraldic figure of five parts that appears at crucial points within the text (the number five recurs throughout the novel, which itself is divided into five parts, one for each of the family galaxies whose orbits the narrator is pulled into). Quintuple the length of the ordinary novel, this extraordinary tour de force also has five times the ordinary allotment of adventure, action and aplomb.

    It is a novel that engages the mind while satisfying those that crave the thrill of a chase. There are riots and sex. There is love and murder. There is Darwinism and Fascism, nightclubs, invented languages and the dangerous bravado of youth. And there are lots of beetles. It is clever. It is distinctive. It is entertaining. We hope you are too.

    Josef Mengele gathers a group of former colleagues for a horrifying project—the creation of the Fourth Reich. Barry Kohler, a young investigative journalist, gets wind of the project and informs famed Nazi hunter Ezra Lieberman, but before he can relay the evidence, Kohler is killed. Thus Ira Levin opens one of the strangest and most masterful novels of his career. Why has Mengele marked a number of harmless aging men for murder? What is the hidden link that binds them? What interest can they possibly hold for their killers: six former SS men dispatched from South America by the most wanted Nazi still alive, the notorious "Angel of Death"? One man alone must answer these questions and stop the killings—Lieberman, himself aging and thought by some to be losing his grip on reality. At the heart of The Boys from Brazil lies a frightening contemporary nightmare, chilling and all too possible.

    Only four men knew what it meant. Now they must stop it. They are Vietnam vets a doctor, a lawyer, a working stiff, and a writer. Very different from each other, they are nonetheless linked by a shared history and a single shattering secret. Now, they have been reunited and are about to embark on a quest that will take them from Washington, D.C., to the graveyards and fleshpots of the Far East to the human jungle of New York, hunting someone from the past who has risen from the darkness to kill and kill and kill.

    Royal Beaumont is the "hillbilly boss" who turned Locke City from a dying town into a thriving vice capital. But organized crime outsiders are moving in on Beaumont's turf, so he reaches out for Dett in a high-risk move to maintain his power at all costs. Add a rival Irish political machine, a deeply entrenched neo-Nazi "party", the nascent black power movement, turf-disputing juvenile gangs, a muck-raking journalist who doubles as a blackmailer, the FBI--a covert observer and occasional participant which may itself be under surveillance-- and Locke City is about as stable as a nitroglycerin truck stalled on the railroad tracks.

    But when one of his stories from the Middle East is exposed as a fraud, his professional reputation crashes and burns. Now he lives in virtual exile—haunted by bad decisions and a shocking truth he can never prove:  that his downfall was a deliberate act of sabotage by an unknown enemy. But before Sagan can end his torment with the squeeze of a trigger, fate intervenes in the form of an enigmatic stranger.  This stranger forces Sagan to act—and his actions attract the attention of the Magellan Billet, a top-secret corps of the United States Justice Department that deals with America’s most sensitive investigations. Sagan suddenly finds himself caught in an international incident, the repercussions of which will shudder not only Washington, D.C., but also Jerusalem. Coaxed into a deadly cat-and-mouse game, unsure who’s friend and who’s foe, Sagan is forced to Vienna, Prague, then finally into the Blue Mountains of Jamaica—where his survival hinges on his rewriting everything we know about Christopher Columbus.

    Now in Jerusalem, she mediates peace talks between Israel and Palestine, which have broken down after two high-profile deaths. Right-wing Zionist Shimon Guttman was gunned down during a supposed attempt to assassinate the Israeli prime minister. "This will change everything," Guttman had cryptically warned the prime minister before he was killed. Palestinian Ahmed Nour, a respected archaeologist, has also been killed on suspicions of being a collaborator. When Maggie discovers that the two men were colleagues, she is plunged into a mystery rooted in an unsolved riddle of the Bible. It all leads back to an ancient clay tablet looted from Baghdad's Museum of Antiquities and a secret that could end a war-or spark a new one.