After being unceremoniously dumped by her longtime boyfriend, Annie seeks a fresh start. She accepts a teaching position that moves her from Manhattan to a small village upstate. She’s stunned by how perfect and picturesque the town is. The people are all friendly and warm. Her new apartment is dreamy too, minus the oddly persistent spider infestation. Then Annie meets Sophie. Beautiful, charming, magnetic Sophie, who takes a special interest in Annie, who wants to be her friend. More importantly, she wants Annie to stop apologizing and start living for herself. That’s how Sophie lives. Annie can’t help but gravitate toward the self-possessed Sophie, wanting to spend more and more time with her, despite the fact that the rest of the townsfolk seem…a little afraid of her. And like, okay. There are some things. Sophie’s appearance is uncanny and ageless, her mansion in the middle of the woods feels a little unearthly, and she does seem to wield a certain power…but she couldn’t be…could she?

    Maggie is a successful young artist who has had bad luck with men. Her last put her in the hospital and, after she’s healed physically, left her needing to get out of London to heal mentally and find a place of quiet that will restore her creative spirit. On the rugged west coast of Ireland, perched on a wild cliff side, she spies the shell of a cottage that dates back to Great Famine and decides to buy it. When work on the house is done, she invites her dealer to come for the weekend to celebrate along with a couple of women friends, one of whom will become his wife. On the boozy last night, the other friend pulls out an Ouija board. What sinister thing they summon, once invited, will never go.Ireland is a country haunted by its past. In Billy O'Callaghan's hands, its terrible beauty becomes a force of inescapable horror that reaches far back in time, before the Famine, before Christianity, to a pagan place where nature and superstition are bound in an endless knot.

    The couple is spending the summer of 1969 in the rooms below hers while Frances is researching the architecture in the surrounding gardens. But she's distracted. Beneath a floorboard in her bathroom, she finds a peephole that gives her access to her neighbors’ private lives.To Frances' surprise, Cara and Peter are keen to get to know her. It is the first occasion she has had anybody to call a friend, and before long they are spending every day together: eating lavish dinners, drinking bottle after bottle of wine, and smoking cigarettes until the ash piles up on the crumbling furniture. Frances is dazzled.But as the hot summer rolls lazily on, it becomes clear that not everything is right between Cara and Peter. The stories that Cara tells don’t quite add up, and as Frances becomes increasingly entangled in the lives of the glamorous, hedonistic couple, the boundaries between truth and lies, right and wrong, begin to blur. Amid the decadence, a small crime brings on a bigger one: a crime so terrible that it will brand their lives forever.

    As children, they survived a religious group's horrific last days at the isolated mountain Red Peak. Years later, the trauma of what they experienced never feels far behind.When a fellow survivor commits suicide, they finally reunite and share their stories. Long-repressed memories surface, defying understanding and belief. Why did their families go down such a dark road? What really happened on that final night?The answers lie buried at Red Peak. But truth has a price, and escaping a second time may demand the ultimate sacrifice.

    What really happened, out there in the woods--and who has Cassie been protecting all along? Read on, if you dare...

    Shortly after they arrive, things begin to turn ominous. Stirrings in the woods and over the treetops—the brooding shape of a monolith known as the Black Rock casts its terrible pall. Paranoia and distrust grips the settlement. The escape routes are gradually cut off as events spiral towards madness. Hell—or the closest thing to it—invades Little Heaven. The remaining occupants are forced to take a stand and fight back, but whatever has cast its dark eye on Little Heaven is now marshaling its powers...and it wants them all.

    Every small town like Fell, New York, has a place like the Sun Down Motel. Some customers are from out of town, passing through on their way to someplace better. Some are locals, trying to hide their secrets. Viv Delaney works as the night clerk to pay for her move to New York City. But something isn't right at the Sun Down, and before long she's determined to uncover all of the secrets hidden…

    The last she--and anyone--saw of them was Vivian closing the cabin door behind her, hushing Emma with a finger pressed to her lips.Now a rising star in the NYC art scene, Emma turns her past into paintings.. They catch the attention of Francesca Harris-White, the socialite and wealthy owner of the very same Camp Nightingale--and when Francesca implores Emma to return to the camp as a painting counselor, Emma sees an opportunity to find closure and move on.Yet, it is immediately clear that all is not right at Camp Nightingale. Already haunted by surfacing memories, Emma is suddenly plagued by a security camera pointed directly at her cabin, mounting mistrust from Francesca, and, most disturbing of all, cryptic clues Vivian apparently left behind about the camp's twisted origins. And as history begins to repeat itself and three girls go missing again, Emma must face threats from both man and nature in order to uncover all the buried secrets--including what really happened all those years ago.

    It feels like a fairy tale when Alberta ”Bert” Monte receives a letter addressed to “Countess Alberta Montebianco” at her Hudson Valley, New York, home that claims she’s inherited a noble title, money, and a castle in Italy. While Bert is more than a little skeptical, the mystery of her aristocratic family’s past, and the chance to escape her stressful life for a luxury holiday in Italy, is too good to pass up.At first, her inheritance seems like a dream come true: a champagne-drenched trip on a private jet to Turin, Italy; lawyers with lists of artwork and jewels bequeathed to Bert; a helicopter ride to an ancestral castle nestled in the Italian Alps below Mont Blanc; a portrait gallery of ancestors Bert never knew existed; and a cellar of expensive vintage wine for Bert to drink.But her ancestry has a dark side, and Bert soon learns that her family history is particularly complicated. As Bert begins to unravel the Montebianco secrets, she begins to realize her true inheritance lies not in a legacy of ancestral treasures, but in her very genes.

    But the Alexander House is different. Built by a 1700s land baron to contain the madness and depravity of his eldest son, the house is plagued by shadows of the past and the lingering taint of bloodshed. David is haunted, as well. For twenty-two years ago, he turned away the woman he loved, and she took her life in sorrow. And David suspects she’s followed him to the Alexander House.

    Almost immediately he sets about beguiling the three women and five teenage girls stranded in this outpost of Southern gentility, eliciting their love and fear, pity and infatuation, and pitting them against one another in a bid for his freedom. But as the women are revealed for what they really are, a sense of ominous foreboding closes in on the soldier, and the question becomes: Just who is the beguiled?

    A high school English teacher specializing in the Gothic writer R. M. Holland, she teaches a course on it every year. But when one of Clare’s colleagues and closest friends is found dead, with a line from R. M. Holland’s most famous story, “The Stranger,” left by her body, Clare is horrified to see her life collide with the storylines of her favourite literature. To make matters worse, the police suspect the killer is someone Clare knows. Unsure whom to trust, she turns to her closest confidant, her diary, the only outlet she has for her darkest suspicions and fears about the case. Then one day she notices something odd. Writing that isn't hers, left on the page of an old diary: "Hallo, Clare. You don’t know me." Clare becomes more certain than ever: “The Stranger” has come to terrifying life. But can the ending be rewritten in time?

    You will be scared. But you won’t know why…I’m thinking of ending things. Once this thought arrives, it stays. It sticks. It lingers. It’s always there. Always. Jake once said, “Sometimes a thought is closer to truth, to reality, than an action. You can say anything, you can do anything, but you can’t fake a thought.” And here’s what I’m thinking: I don’t want to be here. In this smart and intense literary suspense novel, Iain Reid explores the depths of the human psyche, questioning consciousness, free will, the value of relationships, fear, and the limitations of solitude. Reminiscent of Jose Saramago’s early work, Michel Faber’s cult classic Under the Skin, and Lionel Shriver’s We Need to Talk about Kevin, “your dread and unease will mount with every passing page” (Entertainment Weekly) of this edgy, haunting debut. Tense, gripping, and atmospheric, I’m Thinking of Ending Things pulls you in from the very first page…and never lets you go.

    A scholarship student who prefers the company of her dark imagination to that of most people, she is utterly repelled by the rest of her fiction writing cohort--a clique of unbearably twee rich girls who call each other "Bunny," and seem to move and speak as one. But everything changes when Samantha receives an invitation to the Bunnies' fabled "Smut Salon," and finds herself inexplicably drawn to their front door--ditching her only friend, Ava, in the process. As Samantha plunges deeper and deeper into the Bunnies' sinister yet saccharine world, beginning to take part in the ritualistic off-campus "Workshop" where they conjure their monstrous creations, the edges of reality begin to blur. Soon, her friendships with Ava and the Bunnies will be brought into deadly collision. The spellbinding new novel from one of our most fearless chroniclers of the female experience, Bunny is a down-the-rabbit-hole tale of loneliness and belonging, friendship and desire, and the fantastic and terrible power of the imagination.

    But he longs to make his mark in the field of science--something consequential enough to present to the Royal Society in London. He hits on a radical experiment in isolation: For seven years a subject will inhabit three rooms in the basement of the manor house, fitted out with rugs, books, paintings, and even a chamber organ. Meals will arrive thrice daily via a dumbwaiter. The solitude will be totally unrelieved by any social contact whatsoever; the subject will keep a diary of his daily thoughts and actions. The pay: fifty pounds per annum, for life. Only one man is desperate to apply for the job: John Warlow, a semi-literate laborer with a wife and six children to provide for. The experiment, a classic Enlightenment exercise gone more than a little mad, will have unforeseen consequences for all included.