Now, following a case of school bullying, the teens have moved away with their single mother to a long-abandoned family home near the shore. In their new, isolated life, July finds that the deep bond she has always shared with September is shifting in ways she cannot entirely understand. A creeping sense of dread and unease descends inside the house. Meanwhile, outside, the sisters push boundaries of behavior—until a series of shocking encounters tests the limits of their shared experience, and forces shocking revelations about the girls’ past and future.Sisters is a one-two punch of wild fury and heartache—a taut, powerful, and deeply moving account of sibling love and what happens when two sisters must face each other’s darkest impulses.

    A bravura performance, it is the finest recent work from a true master.To be bound in a nutshell, see the world in two inches of ivory, in a grain of sand. Why not, when all of literature, all of art, of human endeavour, is just a speck in the universe of possible things.

    Mrs. Creasy is missing and the Avenue is alive with whispers. The neighbors blame her sudden disappearance on the heat wave, but ten-year-olds Grace and Tilly aren’t convinced. As the summer shimmers endlessly on, the girls decide to take matters into their own hands. Inspired by the local vicar, they go looking for God—they believe that if they find Him they might also find Mrs. Creasy and bring her home.Spunky, spirited Grace and quiet, thoughtful Tilly go door to door in search of clues. The cul-de-sac starts to give up its secrets, and the amateur detectives uncover much more than ever imagined. As they try to make sense of what they’ve seen and heard, a complicated history of deception begins to emerge. Everyone on the Avenue has something to hide, a reason for not fitting in.In the suffocating heat of the summer, the ability to guard these differences becomes impossible. Along with the parched lawns and the melting pavement, the lives of all the neighbors begin to unravel. What the girls don’t realize is that the lies told to conceal what happened one fateful day about a decade ago are the same ones Mrs. Creasy was beginning to peel back just before she disappeared.

    Jenny, the mother, is in charge of lopping any small limbs off the logs with a hatchet. Wade, the father, does the stacking. The two daughters, June and May, aged nine and six, drink lemonade, swat away horseflies, bicker, and sing snatches of songs as they while away the time.But then something unimaginably shocking happens, an act so extreme it will scatter the family in every different direction.In a story told from multiple perspectives and in razor-sharp prose, we gradually learn more about this act, and the way its violence, love and memory reverberate through the life of every character in Idaho.

    Jim Stegner has seen his share of violence and loss. Years ago he shot a man in a bar. His marriage disintegrated. He grieved the one thing he loved. In the wake of tragedy, Jim, a well-known expressionist painter, abandoned the art scene of Santa Fe to start fresh in the valleys of rural Colorado. Now he spends his days painting and fly-fishing, trying to find a way to live with the dark impulses that sometimes overtake him. He works with a lovely model. His paintings fetch excellent prices. But one afternoon, on a dirt road, Jim comes across a man beating a small horse, and a brutal encounter rips his quiet life wide open. Fleeing Colorado, chased by men set on retribution, Jim returns to New Mexico, tormented by his own relentless conscience. A stunning, savage novel of art and violence, love and grief, The Painter is the story of a man who longs to transcend the shadows in his heart, a man intent on using the losses he has suffered to create a meaningful life.

    A crowd gathers to see the first new metal in ages—after all, everything’s been melted down for the war effort. An instant later, the crowd is gone; incinerated. Among the shoppers were five young children. Who were they? What futures did they lose? This brilliantly constructed novel lets an alternative reel of time run, imagining the life arcs of these five souls as they live through the extraordinary, unimaginable changes of the bustling immensity of twentieth-century London. Their intimate everyday dramas, as sons and daughters, spouses, parents, grandparents; as the separated, the remarried, the bereaved. Through decades of social, sexual, and technological transformation, as bus conductors and landlords, as swindlers and teachers, patients and inmates. Days of personal triumphs, disasters; of second chances and redemption. Ingenious and profound, full of warmth and beauty, Light Perpetual illuminates the shapes of experience, the extraordinariness of the ordinary, the mysteries of memory and expectation, and the preciousness of life.

    A teenage girl has gone missing. Everyone is called upon to join the search. The villagers fan out across the moors as the police set up roadblocks and a crowd of news reporters descends on what is usually a place of peace. Meanwhile, there is work that must still be done: cows milked, fences repaired, stone cut, pints poured, beds made, sermons written, a pantomime rehearsed. As the seasons unfold and the search for the missing girl goes on, there are those who leave the village and those who are pulled back; those who come together and those who break apart. There are births and deaths; secrets kept and exposed; livelihoods made and lost; small kindnesses and unanticipated betrayals. An extraordinary novel of cumulative power and grace, Reservoir 13 explores the rhythms of the natural world and the repeated human gift for violence, unfolding over thirteen years as the aftershocks of a tragedy refuse to subside.

    . .Mahmood Mattan is a fixture in Cardiff's Tiger Bay, 1952, which bustles with Somali and West Indian sailors, Maltese businessmen and Jewish families. He is a father, chancer, petty criminal. He is a smooth-talker with rakish charm and an eye for a good game. He is many things, but he is not a murderer. So when a shopkeeper is brutally killed and all eyes fall on him, Mahmood isn't too worried. Since his Welsh wife Laura kicked him out for racking up debts he has wandered the streets more often, and there are witnesses who allegedly saw him enter the shop that night. But Mahmood has escaped worse scrapes, and he is innocent in this country where justice is served. Love lends him immunity too: the fierce love of Laura, who forgives his gambling in a heartbeat, and his children. It is only in the run-up to the trial, as the prospect of returning home dwindles, that it will dawn on Mahmood that he is in a fight for his life - against conspiracy, prejudice and cruelty - and that the truth may not be enough to save him. ***PRAISE FOR NADIFA MOHAMED***'A moving and captivating tale of survival and hope . . . confirms Mohamed's stature as one of Britain's best young novelists' Stylist, on The Orchard of Lost Souls 'Mixing startling lyricism and sheer brutality . . . [Black Mamba Boy] is a significant, affecting book' Guardian 'With the unadorned language of a wise, clear-eyed observer, Nadifa Mohamed has spun an unforgettable tale' Taiye Selasi, on The Orchard of Lost Souls

    Daniel is heading north. He is looking for someone. The simplicity of his early life with Daddy and Cathy has turned sour and fearful. They lived apart in the house that Daddy built for them with his bare hands. They foraged and hunted. When they were younger, Daniel and Cathy had gone to school. But they were not like the other children then, and they were even less like them now. Sometimes Daddy disappeared, and would return with a rage in his eyes. But when he was at home he was at peace. He told them that the little copse in Elmet was theirs alone. But that wasn't true. Local men, greedy and watchful, began to circle like vultures. All the while, the terrible violence in Daddy grew.Atmospheric and unsettling, Elmet is a lyrical commentary on contemporary society and one family's precarious place in it, as well as an exploration of how deep the bond between father and child can go.

    He tends to his garden, his lighthouse, and his chickens, content with a solitary life. Routinely, the nameless bodies of refugees wash ashore, but Samuel--who understands that the government only values certain lives, certain deaths--always buries them himself.One day, though, he finds that one of these bodies is still breathing. As he nurses the stranger back to life, Samuel--feeling strangely threatened--is soon swept up in memories of his former life as a political prisoner on the mainland. This was a life that saw his country exploited under colonial rule, followed by a period of revolution and a brief, hard-won independence--only for the cycle of suffering to continue under a cruel dictator. And he can't help but recall his own shameful role in that history. In this stranger's presence, he begins to consider, as he did in his youth: What does it mean to own land, or to belong to it? And what does it cost to have, and lose, a home?A timeless and gripping portrait of regret, terror, and the extraordinary stakes of companionship, An Island is a story as page-turning as it is profound.

    Unlike Frédéric Moreau in Flaubert's L'Éducation sentimentale (to which this book owes no meagre debt), Piet is magnificently gifted, not only "extremely attractive to most women and to many men," but also a fine pianist, draughtsman and lover. We first meet him interviewing for the role of tutor to the son of the wealthy hotelier, Maarten Vermeulen-Sickerts. All is not well in his gilded household. Egbert, the son, is agoraphobic. The matriarch, Jacobina, hasn't been touched by her husband in almost a decade. Into this highly strung atmosphere comes Piet, charged with the task of freeing Egbert from his paralysing fear of the outside world. We soon realise, however, that Egbert isn't the only one in need of help. Piet sets about liberating the libidos of the repressed family through music – championing bawdy Bizet over abstract Bach – and oral sex. While the setting is Dutch, the influences are French – think Bel-Ami, Les Liaisons dangereuses and Gide's L'Immoraliste.

    Now, two years later, it is time for her to come to terms with marriage, career, family, parenthood, and Kevin's horrific rampage in a series of startlingly direct correspondences with her estranged husband, Franklin. Uneasy with the sacrifices and social demotion of motherhood from the start, Eva fears that her alarming dislike for her own son may be responsible for driving him so nihilistically off the rails.

    Deep in the wilderness, Peggy and James make a life for themselves. They repair the hut, bathe in water from the river, hunt and gather food in the summers and almost starve in the harsh winters. They mark their days only by the sun and the seasons.When Peggy finds a pair of boots in the forest and begins a search for their owner, she unwittingly begins to unravel the series of events that brought her to the woods and, in doing so, discovers the strength she needs to go back to the home and mother she thought she’d lost.After Peggy's return to civilization, her mother learns the truth of her escape, of what happened to James on the last night out in the woods, and of the secret that Peggy has carried with her ever since.

    The endless rain leaves them with little to do but watch the other residents.A woman goes running up the Ben as if fleeing; a retired couple reminisce about neighbours long since moved on; a teenage boy braves the dark waters of the loch in his red kayak. Each person is wrapped in their own cares but increasingly alert to the makeshift community around them. One particular family, a mother and daughter without the right clothes or the right manners, starts to draw the attention of the others. Tensions rise and all watch on, unaware of the tragedy that lies ahead as night finally falls.

    Down the road from a working-class British pub, along the brick wall of a narrow alley, if the conditions are exactly right, you’ll find the entrance to Slade House. A stranger will greet you by name and invite you inside. At first, you won’t want to leave. Later, you’ll find that you can’t. Every nine years, the house’s residents — an odd brother and sister — extend a unique invitation to someone who’s different or lonely: a precocious teenager, a recently divorced policeman, a shy college student. But what really goes on inside Slade House? For those who find out, it’s already too late... Spanning five decades, from the last days of the 1970s to the present, leaping genres, and barreling toward an astonishing conclusion, this intricately woven novel will pull you into a reality-warping new vision of the haunted house story—as only David Mitchell could imagine it.