Ten years ago, Jess's mother was murdered by the Magpie Man.She was the first of his victims but not the last.Now Jess is the star of a YouTube reality series and she's using it to catch the killer once and for all.The whole world is watching her every move.And so is the Magpie Man.

    It won’t be the last. He’s now arrived in Galicia. It’s where Álvaro died. It’s where the case has already been quickly closed as a tragic accident. It’s also where Álvaro hid his secrets.The man to whom Manuel was married for fifteen years was not the unassuming man he knew.Álvaro’s trail leads Manuel deep into one of Spain’s most powerful and guarded families. Behind the walls of their forbidding estate, Manuel is nothing but an unwelcome and dangerous intruder. Then he finds two allies: a stubbornly suspicious police lieutenant and Álvaro’s old friend—and private confessor—from seminary school. Together they’re collecting the pieces of Álvaro’s past, his double life, and his mysterious death.But in the shadows of nobility and privilege, Manuel is about to unravel a web of corruption and deception that could be as fatal a trap for him as it was for the man he loved.

    In 1933, the year that forms the centerpiece of the narrative, Harry is 11 years old and living with his mother, father, and younger sister on a farm outside of Marvel Creek, Texas, near the Sabine River bottoms. Harry's world changes forever when he discovers the corpse of a young black woman tied to a tree in the forest near his home. The woman, who is eventually identified as a local prostitute, has been murdered, molested, and sexually mutilated. She is also, as Harry will soon discover, the first in a series of similar corpses, all of them the victims of a new, unprecedented sort of monster: a traveling serial killer.From his privileged position as the son of constable (and farmer and part-time barber) Jacob Collins, Harry watches as the distinctly amateur investigation unfolds. As more bodies -- not all of them "colored" -- surface, the mood of the local residents darkens. Racial tensions -- never far from the surface, even in the best of times -- gradually kindle. When circumstantial evidence implicates an ancient, innocent black man named Mose, the Ku Klux Klan mobilizes, initiating a chilling, graphically described lynching that will occupy a permanent place in Harry Collins's memories. With Mose dead and the threat to local white women presumably put to rest, the residents of Marvel Creek resume their normal lives, only to find that the actual killer remains at large and continues to threaten the safety and stability of the town.Lansdale uses this protracted murder investigation to open up a window on an insular, poverty-stricken, racially divided community. With humor, precision, and great narrative economy, he evokes the society of Marvel Creek in all its alternating tawdriness and nobility, offering us a varied, absolutely convincing portrait of a world that has receded into history. At the same time, he offers us a richly detailed re-creation of the vibrant, dangerous physical landscapes that were part of that world and have since been buried under the concrete and cement of the industrialized juggernaut of the late 20th century. In Lansdale's hands, the gritty realities of Depression-era Texas are as authentic -- and memorable -- as anything in recent American fiction.

    What we as her audience take away from this remarkable drama is a keener sense that, while death is real and unavoidable, our lives are ours to cherish or throw away—a lesson that can be both uplifting and redemptive. As the playwright herself puts it, “The play is not about doctors or even about cancer. It’s about kindness, but it shows arrogance. It’s about compassion, but it shows insensitivity.” In Wit, Edson delves into timeless questions with no final answers: How should we live our lives knowing that we will die? Is the way we live our lives and interact with others more important than what we achieve materially, professionally, or intellectually? How does language figure into our lives? Can science and art help us conquer death, or our fear of it? What will seem most important to each of us about life as that life comes to an end?The immediacy of the presentation, and the clarity and elegance of Edson’s writing, make this sophisticated, multilayered play accessible to almost any interested reader. As the play begins, Vivian Bearing, a renowned professor of English who has spent years studying and teaching the intricate, difficult Holy Sonnets of the seventeenth-century poet John Donne, is diagnosed with advanced ovarian cancer. Confident of her ability to stay in control of events, she brings to her illness the same intensely rational and painstakingly methodical approach that has guided her stellar academic career. But as her disease and its excruciatingly painful treatment inexorably progress, she begins to question the single-minded values and standards that have always directed her, finally coming to understand the aspects of life that make it truly worth living.

    Martin Sherman's worldwide hit play Bent took London by storm in 1979 when it was first performed by the Royal Court Theatre, with Ian McKellen as Max (a character written with the actor in mind). The play itself caused an uproar. "It educated the world," Sherman explains. "People knew about how the Third Reich treated Jews and, to some extent, gypsies and political prisoners. But very little had come out about their treatment of homosexuals." Gays were arrested and interned at work camps prior to the genocide of Jews, gypsies, and handicapped, and continued to be imprisoned even after the fall of the Third Reich and liberation of the camps. The play Bent highlights the reason why - a largely ignored German law, Paragraph 175, making homosexuality a criminal offense, which Hitler reactivated and strengthened during his rise to power.

    Unfortunately, he spends his days writing copy about underwear and abs for a gay lifestyle magazine. When a troubled young porn star brings him a tip about a recently deceased marine’s secret visit to an infamous pimp for underage boys, Adam is determined to break the story…until someone starts threatening his life.Undeterred, Adam begins to unravel a deadly conspiracy involving runaway sugar daddies, salacious A-list parties, and three handsome young men who have vanished without a trace. Now he must enter the seedy underbelly of LA to find the truth behind their disappearance, as well as the disappearance of his ex-lover, Corey—who may have some deadly secrets of his own.In this supercharged modern noir tale of sex, drugs, and revenge from New York Times bestselling author Christopher Rice, getting to the bottom of a scandalous story can be dangerous…if not downright fatal.Revised edition: This edition of Light Before Day includes editorial revisions.

    In Full Dark House, Christopher Fowler tells the story of both their first and last case--and how along the way the unlikely pair of crime fighters changed the face of detection.A present-day bombing rips through London and claims the life of eighty-year-old detective Arthur Bryant. For his partner John May, it means the end of a partnership that lasted over half-a-century and an eerie echo back to the Blitz of World War II when they first met. Desperately searching for clues to the killer's identity, May finds his old friend's notes of their very first case and becomes convinced that the past has returned...with a killing vengeance.It begins when a dancer in a risque new production of Orpheus in Hell is found without her feet. Suddenly, the young detectives are plunged in a bizarre gothic mystery that will push them to their limits--and beyond. For in a city shaken by war, a faceless killer is stalking London's theaters, creating his own kind of sinister drama. And it will take Arthur Bryant's unorthodox techniques and John May's dogged police work to catch a criminal whose ability to escape detection seems almost supernatural--a murderer who even decades later seems to have claimed the life of one of them...and is ready to claim the other.Filled with startling twists, unforgettable characters, and a mystery that will keep you guessing, Full Dark House is a witty, heartbreaking, and all-too-human thriller about the hunt for an inhuman killer.

    Set in the seventeenth century, the play follows Anna Fierling -- "Mother Courage" -- an itinerant trader, as she pulls her wagon of wares and her children through the blood and carnage of Europe's religious wars. Battered by hardships, brutality, and the degradation and death of her children, she ultimately finds herself alone with the one thing in which she truly believes -- her ramshackle wagon with its tattered flag and freight of boots and brandy. Fitting herself in its harness, the old woman manages, with the last of her strength, to drag it onward to the next battle. In the enduring figure of Mother Courage, Bertolt Brecht has created one of the most extraordinary characters in the literature of drama.

    in the heyday of Henry Luce. One day, before heading home to his wife in the suburbs, Stroud has a drink with Pauline, the beautiful girlfriend of his boss, Earl Janoth. Things happen. The next day Stroud escorts Pauline home, leaving her off at the corner just as Janoth returns from a trip. The day after that, Pauline is found murdered in her apartment.Janoth knows there was one witness to his entry into Pauline’s apartment on the night of the murder; he knows that man must have been the man Pauline was with before he got back; but he doesn’t know who he was. Janoth badly wants to get his hands on that man, and he picks one of his most trusted employees to track him down: George Stroud, who else?How does a man escape from himself? No book has ever dramatized that question to more perfect effect than The Big Clock, a masterpiece of American noir.

    But amid the gossip over the approaching festivities, there is also a worrying rumour - it seems a sinister masked man has been asking questions around the village.Then, on the night of the wedding, the Ichiyanagi household are woken by a terrible scream, followed by the sound of eerie music. Death has come to Okamura, leaving no trace but a bloody samurai sword, thrust into the pristine snow outside the house. Soon, amateur detective Kosuke Kindaichi is on the scene to investigate what will become a legendary murder case, but can this scruffy sleuth solve a seemingly impossible crime?

    A hot August night lies heavy over the Carolinas. The corpse -- legs sprawled, stomach down on the concrete pavement, arms above the head -- brings the patrol car to a halt. The local police pick up a black stranger named Virgil Tibbs, only to discover that their most likely suspect is a homicide detective from California -- and the racially tense community's single hope in solving a brutal murder that turns up no witnesses, no motives, no clues.

    He has taken the ordinary West End drawing room comedy convention - understatement, upper-class accents and all - and used it as a vehicle for utterly serious ideas.' Observer

    But when the sun went down, her life was an endless, faceless whirl of bars and beds and men she'd never seen before and wouldn't see again. If she couldn't find love, she took chances on men who were better than no men at all. And learned, with each new night and each new nightmare, that finding her man was only the beginning.

    Two young women besieged by the demands of mothers, lovers, and careers—not to mention a highly persistent telephone answering machine—as they struggle to have it all. A brilliant feminist art historian trying to keep her bearings and her sense of humor on the elevator ride from the radical sixties to the heartless eighties.Wendy Wasserstein's characters are so funny, so many-sided, and so real that we seem to know them from their Scene One entrances, though the places they go are invariably surprising. And these three plays—Uncommon Women and Others, Isn't It Romantic, and the Pulitzer Prize-winning The Heidi Chronicles—manage to engage us heart, mind, and soul on such a deep and lasting level that they are already recognized as classics of the modern theater.

    No one knew where she went - no note, no body. It was a mystery that was never solved and it tore her family apart.Now another girl has disappeared, with chilling echoes of the past. And it seems that she might not be the only one.Claire is convinced Julia's disappearance is linked.But when she begins to learn the truth about her sister, she is confronted with a shocking discovery, and nothing will ever be the same...