On August 11, 1921, in Birmingham, Alabama, a Methodist minister named Edwin Stephenson shot and killed a Catholic priest, James Coyle, in broad daylight and in front of numerous witnesses. The killer's motive? The priest had marriedStephenson's eighteen-year-old daughter Ruth to Pedro Gussman, a Puerto Rican migrant and practicing Catholic.Sharon Davies's Rising Road resurrects the murder of Father Coyle and the trial of his killer. As Davies reveals with novelistic richness, Stephenson's crime laid bare the most potent bigotries of the age: a hatred not only of blacks, but of Catholics and foreigners as well. In one of the case'smost unexpected turns, the minister hired future U.S. Supreme Court Justice Hugo Black to lead his defense. Though regarded later in life as a civil rights champion, in 1921 Black was just months away from donning the robes of the Ku Klux Klan, the secret order that financed Stephenson's defense.Entering a plea of temporary insanity, Black defended the minister on claims that the Catholics had robbed Ruth away from her true Protestant faith, and that her Puerto Rican husband was actually black.Placing the story in social and historical context, Davies brings this heinous crime and its aftermath back to life, in a brilliant and engrossing examination of the wages of prejudice and a trial that shook the nation at the height of Jim Crow.Davies takes us deep into the dark heart of the Jim Crow South, where she uncovers a searing story of love, faith, bigotry and violence. Rising Road is a history so powerful, so compelling it stays with you long after you've finished its final page.--Kevin Boyle, author of the National Book Award-winning Arc of JusticeThis gripping history...has all the makings of a Hollywood movie. Drama aside, Rising Road also happens to be a fine work of history. --History News Network

    Harvey Burdell in his lower Manhattan home made front-page news across the United States in 1857. "Who killed Dr. Burdell?" was a question that gripped the nation. 31 Bond Street, a debut novel by Ellen Horan, interweaves fiction with actual events in a clever historical narrative that blends romance, politics, greed and sexual intrigue in a suspenseful drama. The story opens when an errand boy discovers Burdell's body in the bedroom of his posh Bond Street home. The novel's central characters are Dr. Harvey Burdell, a dentist and unscrupulous businessman; his lover, the ambitious, Brooklyn-born Emma Cunningham; the District Attorney, Abraham Oakey Hall (later to become mayor of New York); and Henry Clinton, a prominent defense lawyer. The enigmatic relationship between Emma and Dr. Burdell makes her the prime suspect, and her trial is nothing less than sensational. During the trial, the two lawyers fight for truth, justice and their careers. This novel is set against the background of bustling, corrupt New York City, just four years before the Civil War. The author intertwines two main narratives: the trial through the perspective of the defense attorney Henry Clinton, and the story of the lovely young widow Emma Cunningham whose search for a husband brings her into the arms and home of Dr. Burdell.

    It is the smells, the sounds, the fears and the petty triumphs in the world of the street pimp.

    In Al Tafar, Iraq, twenty-one-year old Private Bartle and eighteen-year-old Private Murphy cling to life as their platoon launches a bloody battle for the city. In the endless days that follow, the two young soldiers do everything to protect each other from the forces that press in on every side: the insurgents, physical fatigue, and the mental stress that comes from constant danger. Bound together since basic training when their tough-as-nails Sergeant ordered Bartle to watch over Murphy, the two have been dropped into a war neither is prepared for. As reality begins to blur into a hazy nightmare, Murphy becomes increasingly unmoored from the world around him and Bartle takes impossible actions. With profound emotional insight, especially into the effects of a hidden war on mothers and families at home, The Yellow Birds a groundbreaking novel about the costs of war that is destined to become a classic.

    Or the "Phantom of Fine Hall," a figure many students had seen shuffling around the corridors of the math and physics building wearing purple sneakers and writing numerology treatises on the blackboards. The Phantom was John Nash, one of the most brilliant mathematicians of his generation, who had spiraled into schizophrenia in the 1950s. His most important work had been in game theory, which by the 1980s was underpinning a large part of economics. When the Nobel Prize committee began debating a prize for game theory, Nash's name inevitably came up—only to be dismissed, since the prize clearly could not go to a madman. But in 1994 Nash, in remission from schizophrenia, shared the Nobel Prize in economics for work done some 45 years previously.Economist and journalist Sylvia Nasar has written a biography of Nash that looks at all sides of his life. She gives an intelligent, understandable exposition of his mathematical ideas and a picture of schizophrenia that is evocative but decidedly unromantic. Her story of the machinations behind Nash's Nobel is fascinating and one of very few such accounts available in print (the CIA could learn a thing or two from the Nobel committees).

    After the death of her parents, she is apprenticed to an eccentric wax sculptor and whisked off to the seamy streets of Paris, where they meet a domineering widow and her quiet, pale son. Together, they convert an abandoned monkey house into an exhibition hall for wax heads, and the spectacle becomes a sensation. As word of her artistic talent spreads, Marie is called to Versailles, where she tutors a princess and saves Marie Antoinette in childbirth. But outside the palace walls, Paris is roiling: The revolutionary mob is demanding heads, and... at the wax museum, heads are what they do.In the tradition of Gregory Maguire's Wicked and Erin Morgenstern's The Night Circus, Edward Carey's Little is a darkly endearing cavalcade of a novel—a story of art, class, determination, and how we hold on to what we love.

    Ella Rubenstein is forty years old and unhappily married when she takes a job as a reader for a literary agent. Her first assignment is to read and report on Sweet Blasphemy, a novel written by a man named Aziz Zahara. Ella is mesmerized by his tale of Shams's search for Rumi and the dervish's role in transforming the successful but unhappy cleric into a committed mystic, passionate poet, and advocate of love. She is also taken with Shams's lessons, or rules, that offer insight into an ancient philosophy based on the unity of all people and religions, and the presence of love in each and every one of us. As she reads on, she realizes that Rumi's story mir­rors her own and that Zahara—like Shams—has come to set her free.

    But it would take more than another year and the mysterious disappearance of two young women in Seattle before the police would arrest one man—the handsome, charming, fast-talking Kenny Bianchi—and discover that the strangler was actually two men. Like Truman Capote in In Cold Blood and Norman Mailer in The Executioner's Song, Darcy O'Brien weds the narrative skill of an award-winning novelist with the detailed observations of an experienced investigator to bring the story of Bianchi and his animally magnetic cousin Angelo Buono vividly to the page. First exploring the symbiotic relationship between these two men who shared a lust as insatiable as their hate for women, O'Brien goes on to examine the crimes themselves and the lives of the victims.

    Many of the city's lawyers, businessmen, and other professionals were black, as were all the tradesmen and stevedores. The black community outnumbered the white community by more than two to one. But the white civic leaders, many descended from the antebellum aristocracy, did not consider this progress. They looked around and saw working class white citizens out of jobs. They heard black citizens addressing white neighbors "in the familiar." They hated the fact that local government was run by Republican "Fusionists" sympathetic to the black majority. Rumors began to fly. The newspaper office turned into an arsenal. Secret societies espousing white supremacy were formed. Isolated incidents occurred: a shot was fired through a streetcar bearing white passengers, a black cemetery was desecrated. This incendiary atmosphere was inflamed further by public speeches from an ex-Confederate colonel and a firebrand black preacher. One morning in November, the almost inevitable gunfire began. By the time order was restored, many of the city's most visible black leaders had been literally put on trains and told to leave town, hundreds of black citizens were forced to hide out in the city's cemetery or the nearby swamps to avoid massacre, and dozens of victims lay dead. Based on actual events, Cape Fear Rising tells a story of one city's racial nightmare--a nightmare that was repeated throughout the South at the turn of the century. Although told as fiction, the core of this novel strikes at the heart of racial strife in America.Philip Gerard is the author of five novels and eight books of nonfiction, including Down the Wild Cape Fear: A River Journey Through the Heart of North Carolina and The Patron Saint of Dreams, winner of the 2012 North American Gold Medal in Essay/Creative Nonfiction from The Independent Publisher."[A] complex and convincing . . . story [that] smartly limns the tangled combination of economic, social and visceral elements that led Wilmington to violence . . . " --Publishers Weekly

    the phenomenon of false entries within dictionaries and works of reference. Often used as a safeguard against copyright infringement.Peter Winceworth, Victorian lexicographer, is toiling away at the letter S for Swansby's multivolume Encyclopaedic Dictionary. His disaffection compels him to insert unauthorized fictitious entries into the dictionary in an attempt to assert some sense of individual purpose and artistic freedom.In the present day, Mallory, a young intern employed by the publisher, is tasked with uncovering these mountweazels before the work is digitized. She also has to contend with threatening phone calls from an anonymous caller. Is the change in the definition of marriage really that upsetting? And does the caller really intend for the Swansby's staff to 'burn in hell'?As these two narratives combine, both Winceworth and Mallory discover how they might negotiate the complexities of the often nonsensical, relentless, untrustworthy, hoax-strewn, and undefinable path we call life. An exhilarating debut novel from a formidably brilliant young writer, The Liar's Dictionary celebrates the rigidity, fragility, absurdity, and joy of language.

    Here, she explores the opposite impulse, one that has been so effectively suppressed that we lack even a term for it: the desire for collective joy, historically expressed in ecstatic revels of feasting, costuming, and dancing.Ehrenreich uncovers the origins of communal celebration in human biology and culture. Although sixteenth-century Europeans viewed mass festivities as foreign and "savage," Ehrenreich shows that they were indigenous to the West, from the ancient Greeks' worship of Dionysus to the medieval practice of Christianity as a "danced religion." Ultimately, church officials drove the festivities into the streets, the prelude to widespread reformation: Protestants criminalized carnival, Wahhabist Muslims battled ecstatic Sufism, European colonizers wiped out native dance rites. The elites' fear that such gatherings would undermine social hierarchies was justified: the festive tradition inspired French revolutionary crowds and uprisings from the Caribbean to the American plains. Yet outbreaks of group revelry persist, as Ehrenreich shows, pointing to the 1960s rock-and-roll rebellion and the more recent "carnivalization" of sports. Original, exhilarating, and deeply optimistic, "Dancing in the Streets" concludes that we are innately social beings, impelled to share our joy and therefore able to envision, even create, a more peaceable future.

    Her journey has been long and her adventures many, but it is not until she meets the playwright William Shakespeare that she gets to tell the entire story from beginning to end. Violetta and her comic companion, Feste, have come in search of an ancient holy relic that the evil Malvolio has stolen from their kingdom. But where will their remarkable quest--and their most unusual story--lead? In classic Celia Rees style, it is an engrossing journey, full of political intrigue, danger, and romance.This wholly original story is spun from Shakespeare's Twelfth Night, and includes both folly and suspense that would make the Bard proud.

    Using guns, knives, poison, ice picks, tire irons, baseball bats, and bombs, the family man from New Jersey killed for fun, for money, to cover up his own crimes, and to satisfy his inner rage. Law enforcement officials knew all about Kuklinski and had a list of his victims, but couldn’t get near him—until undercover agent Dominick Polifrone posed as a mobster and began a deadly game of cat and mouse. In this harrowing true-crime account, Anthony Bruno delves into the mind of a cold-blooded killer, chronicling the Iceman’s grisly crimes and probing the bizarre dynamics of Agent Polifrone’s dangerous liaison with him. For as Polifrone carefully built up a case against Kuklinksi, he knew he was running out of time—because the Iceman was planning to kill him too.

    Taken from actual medical files, Asylum Archives is a collection of short stories based on true accounts from the insane! Featuring stories from New York Times Bestselling author, David Farland, acclaimed filmmaker Richard Dutcher, and bestselling author Jaron Briggs, Asylum Archives is prescribed as a few milligrams of insanity!

    There was no apparent motive for the crime, and there were almost no clues. As Truman Capote reconstructs the murder and the investigation that led to the capture, trial, and execution of the killers, he generates both mesmerizing suspense and astonishing empathy. At the center of his study are the amoral young killers Perry Smith and Dick Hickcock, who, vividly drawn by Capote, are shown to be reprehensible yet entirely and frighteningly human. In Cold Blood is a seminal work of modern prose, a remarkable synthesis of journalistic skill and powerfully evocative narrative.