They are in there...Black smoke stains a summer blue sky. A school is on fire. And one mother, Grace, sees the smoke and rush. She knows her teenage daughter Jenny is inside. She runs into the burning building to rescue her.Afterwards Grace must find the identity of the arsonist and protect her children from the person who's still intent on destroying them. Afterwards, she must fight the limits of her physical strength and discover the limitlessness of love.

    Another year, and he'll be out of the department completely. That's the plan, at least, until his niece's body is found in the guest home of one of his city's most wealthy citizens. The coroner calls it an overdose, but the case doesn't add up. Against orders, Ash begins a danger-filled investigation to find his niece's murderer, but the longer he searches, the more entangled he becomes in a case that hits increasingly close to home. If he doesn't solve it fast, his niece won't be the only family member he has to bury.

    Red dress, black hair, body like a knife. He takes her back to his room and wakes the next morning in a bathtub full of blood and ice, missing a kidney.Dragging himself from a hospital bed, Phineas discovers he wants to be with Jude like a hunger -- and he wants to find her and kill her. Falling for her is the start of a twisted love story that takes him from the snowy streets of Denver to the high plains of Texas where the boundaries between torturer and victim, killer and accomplice, become nightmarishly distorted.

    It unfurls on a sweltering August evening in 1909 as Freud disembarks from the steamship George Washington, accompanied by Carl Jung, his rival and protégé. Across town, in an opulent apartment high above the city, a stunning young woman is found dangling from a chandelier—whipped, mutilated, and strangled. The next day, a second beauty—a rebellious heiress who scorns both high society and her less adventurous parents—barely escapes the killer. Yet Nora Acton, suffering from hysteria, can recall nothing of her attack. Asked to help her, Dr. Stratham Younger, America’s most committed Freudian analyst, calls in his idol, the Master himself, to guide him through the challenges of analyzing this high-spirited young woman whose family past has been as complicated as his own. The Interpretation of Murder leads readers from the salons of Gramercy Park, through secret passages, to Chinatown—even far below the currents of the East River where laborers are building the Manhattan Bridge. As Freud fends off a mysterious conspiracy to destroy him, Younger is drawn into an equally thrilling adventure that takes him deep into the subterfuges of the human mind. Richly satisfying, elegantly crafted, The Interpretation of Murder marks the debut of a brilliant, spectacularly entertaining new storyteller. In 2007 The Interpretation of Murder won the prestigious Best Read of the Year award from Richard and Judy's Bookclub in the UK (comparable to Oprah Winfrey in the USA).

    Translation: Who killed the knight? Breaking the silence of five centuries, Julia's hunt for a Renaissance murderer leads her into a modern-day game of sin, betrayal, and death.

    Now, with a pack of cigarettes, a stolen Caddy, and no plan, the two must think fast-and move faster, in this novel with "a lyric voice that sings itself raw."(New York Times Book Review) "My kind of book." (James Ellroy) "Cook's plot tumbles from scene to scene with jarring brilliance, the pathos of his characters lending his otherwise brutal world a certain beauty." (Publishers Weekly) "Elmore Leonard's laconic flair with the dumb and dangerous [and] James Lee Burke's lyric feel for the dark hearts in a New South-Robbers ranges wild and wide, deep through the heart of Texas." (Michael Malone, author of Time's Witness) "Cook clearly has the suspense-building gene...The nerve-jangling plot tick-tick-ticks toward its explosive end." (Texas Monthly) "High-octane...Cook takes the noir chase novel on some remarkable detours." (Booklist, starred review) "This is a terrific book. I haven't enjoyed a novel this much in years." (James Crumley, author of The Last Good Kiss)

    The killer has left behind a clue connecting the two cases to First Date, a popular online dating service, and Flann McIlroy, an eccentric, publicity-seeking homicide detective, is convinced that only Ellie can help him pursue his terrifying theory: someone is using the lure of the Internet and the promise of love to launch a killing spree against the women of New York City.   To catch the killer, Ellie must enter a high-tech world of stolen identities where no one is who they appear to be. And for her, the investigation quickly becomes personal: she fits the profile of the victims, and she knows firsthand what pursuing a sociopath can do to a cop--back home in Wichita, Kansas, her father lost his life trying to catch a notorious serial murderer.   When the First Date killer begins to mimic the monster who destroyed her father, Ellie knows the game has become personal for him, too. Both hunter and prey, she must find the killer before he claims his next victim--who could very well be her.   Expertly plotted and perfectly paced, Dead Connection advances Alafair Burke to the front ranks of American thriller writers.

    But a cop named Foley is on to Eddie and he's leaning on him to finger Scalisi, a gang leader with a lot to hide. And then there's Dillon-a full-time bartender and part-time contract killer--pretending to be Eddie's friend. Wheeling, dealing, chasing, and stealing--that's Eddie, and he's got lots of friends.

    This collection, the first of a two-volume omnibus, presents four classics of the 1940s overdue for fresh attention. Anticipating the “domestic suspense” novels of recent years, these four gripping tales explore the terrors of the mind and of family life, of split personality and conflicted sexual identity.Vera Caspary’s Laura (1943) begins with the investigation into a young woman’s murder and blossoms into a complex study, told from multiple viewpoints, of the pressures confronted by a career woman seeking to lead an independent life. Source of the celebrated film by Otto Preminger, Caspary’s novel has depths and surprises of its own. As much a novel of manners as of mystery, it remains a superb evocation of a vanished Manhattan.Helen Eustis’s The Horizontal Man (1946) won an Edgar Award for best first novel and continues to fascinate as a singular mixture of detection, satire, and psychological portraiture. A poet on the faculty of an Ivy League school (modeled on Eustis’s alma mater, Smith College) is found murdered, setting off ripple effects of anxiety, suspicion, and panic in the hothouse atmosphere of an English department rife with talk of Freud and Kafka.With In a Lonely Place (1947), Dorothy B. Hughes created one of the first full-scale literary portraits of a serial murderer. The streets of Los Angeles become a setting for random killings, and Hughes ventures, with unblinking exactness, into the mind of the killer. In the process she conjures up a potent mood of postwar dread and lingering trauma.Raymond Chandler called Elisabeth Sanxay Holding “the top suspense writer of them all.” In The Blank Wall (1947) she constructs a ferociously taut drama around the plight of a wartime housewife forced beyond the limits of her sheltered domestic world in order to protect her family. The barely perceptible constraints of an ordinary suburban life become a course of obstacles that she must dodge with the determination of a spy or criminal.Psychologically subtle, socially observant, and breathlessly suspenseful, these four spellbinding novels recapture a crucial strain of American crime writing.

    Genevieve Summerford is used to forging her own path. But when one of her patients is arrested for murder-a murder Genevieve fears she may have unwittingly provoked-she is forced to seek help from an old acquaintance.Desperate to clear her patient's name and relieve her own guilty conscience, Genevieve finds herself breaking all the rules she's tried so hard to live by. In her search for answers, Genevieve uncovers an astonishing secret that, should she reveal it, could spell disaster for those she cares about most. But if she lets her discovery remain hidden, she will almost certainly condemn her patient to the electric chair.

    Constance Kopp doesn’t quite fit the mold. She towers over most men, has no interest in marriage or domestic affairs, and has been isolated from the world since a family secret sent her and her sisters into hiding fifteen years ago. One day a belligerent and powerful silk factory owner runs down their buggy, and a dispute over damages turns into a war of bricks, bullets, and threats as he unleashes his gang on their family farm. When the sheriff enlists her help in convicting the men, Constance is forced to confront her past and defend her family — and she does it in a way that few women of 1914 would have dared.

    Fortunately, his assistant Natalie and her daughter are kind enough to welcome him into their home. Unfortunately, their home is not quite up to Monk's standards of cleanliness and order.But while Monk attempts to arrange his surroundings just so, something else needs to be put straight. The death of a dog at the local firehouse-on the same night as a fatal house fire-has led Monk into a puzzling mystery. And much to his horror, he's going to have to dig through a lot of dirt to find the answer.

    Upon the razor-thin edge between love and violence lives a pair of brothers, their bonds frayed by betrayals and guilt, their loyalty to each other their last salvation.Raised to pick a pocket before he could walk, Terry Rand cut free from his family after his older brother, Collie, went on a senseless killing spree that left eight dead. Five years later, only days before his scheduled execution, Collie contacts Terry and asks him to return home. Collie claims he wasn’t responsible for one of the murders—and insists that the real killer is still on the loose.Dogged by his own demons, Terry is swept back into the schemes and scams of his family: His father, Pinsch, a retired cat burglar, brokenhearted because of his two sons. His card-sharp uncles, Mal and Grey, who’ve incurred the anger of the local mob. His grandfather, Shep, whose mind is failing but whose fingers can still slip out a wallet  from across the room. His teenage sister, Dale, who’s flirting dangerously with the lure of the family business. And Kimmie, the woman Terry abandoned, who’s now raising a child with Terry’s former best friend.  Terry pieces together the day his brother turned rabid, delving into a blood history that reveals the Rand family tree is rotten to the roots, and the secrets his ancestors buried are now coming furious and vengeful to the surface.A meditation on how love can confine a person just as easily as it can free him, juxtaposing shocking violence and sly humor, The Last Kind Words is the brilliantly inventive family saga that only a singular talent like Tom Piccirilli could conjure.

    Tracy Whitney is young, beautiful and intelligent - and about to marry into wealth and glamour. Until, suddenly, she is betrayed, framed by a ruthless Mafia gang, abandoned by the man she loves. Only her ingenuity saves her and helps her fight back.

    Tortured by the unsolved slayings of his wife and young daughter, he is a man consumed by guilt, regret, and the desire for revenge. When his former partner asks him to track down a missing girl, Parker finds himself drawn into a world beyond his imagining: a world where thirty-year-old killings remain shrouded in fear and lies, a world where the ghosts of the dead torment the living, a world haunted by the murderer responsible for the deaths in his family—a serial killer who uses the human body to create works of art and takes faces as his prize. But the search awakens buried instincts in Parker: instincts for survival, for compassion, for love, and, ultimately, for killing.Aided by a beautiful young psychologist and a pair of bickering career criminals, Parker becomes the bait in a trap set in the humid bayous of Louisiana, a trap that threatens the lives of everyone in its reach. Driven by visions of the dead and the voice of an old black psychic who met a terrible end, Parker must seek a final, brutal confrontation with a murderer who has moved beyond all notions of humanity, who has set out to create a hell on earth: the serial killer known only as the Traveling Man.In the tradition of classic American detective fiction, Every Dead Thing is a tense, richly plotted thriller, filled with memorable characters and gripping action. It is also a profoundly moving novel, concerned with the nature of loyalty, love, and forgiveness. Lyrical and terrifying, it is an ambitious debut, triumphantly realized.