Dylan Cuevas, a young bounty hunter in Las Vegas, becomes entangled in a series of mysterious suicides involving fellow assassins. As Dylan delves deeper into the deaths, she uncovers a sinister plot linked to a powerful mafia boss and a mysterious device that compels its victims to end their lives. With her life on the line, Dylan must navigate a treacherous web of deceit, betrayal, and deadly secrets to uncover the truth and stop the killings before she becomes the next target.

Bounty hunter Sexx Pistol never kept track of the body count, until it was one of her own lying dead on the ground. Struck with grief, she swore she would leave Kassius Del Mar, the man she held accountable for her partner's death, and her violent past behind. But it's hard to pass up easy cash for a quick hit job.

A bounty hunter rejoins her hit squad for an easy cash hit. Unfortunately, they apprehend the wrong person and accidentally kill him; now these bounty hunters are fugitives at risk of being the crime boss’s next target.

Brilliant anime director Satoshi Kon (Paprika, Paranoia Agent, Tokyo Godfathers, Millennium Actress, Perfect Blue) died tragically young in 2010 at the age of forty-six. But before he became a director, he was a manga artist, and Dark Horse is honored to remember Kon with the release of Satoshi Kon’s OPUS, an omnibus collection of a two-volume manga from 1996, created by Kon on the eve of his first film. OPUS contains the mastery of both realism and surrealism that would make Kon famous in Perfect Blue, as a manga artist planning a shocking surprise ending to his story gets literally pulled into his own work—to face for himself what he had planned for his characters! * Satoshi Kon was a Time magazine 2010 Person of the Year. * Kon was eulogized by director Darren Aronofsky. * Kon was a chief assistant to Katsuhiro Otomo on the Akiramanga.

Cormac McCarthy told an interviewer for the New York Times Magazine that "books are made out of books," but he has been famously unwilling to discuss how his own writing draws on the works of other writers. Yet his novels and plays masterfully appropriate and allude to an extensive range of literary works, demonstrating that McCarthy is well aware of literary tradition, respectful of the canon, and deliberately situating himself in a knowing relationship to precursors. The Wittliff Collection at Texas State University acquired McCarthy's literary archive in 2007. In Books Are Made Out of Books, Michael Lynn Crews thoroughly mines the archive to identify nearly 150 writers and thinkers that McCarthy himself references in early drafts, marginalia, notes, and correspondence. Crews organizes the references into chapters devoted to McCarthy's published works, the unpublished screenplay Whales and Men, and McCarthy's correspondence. For each work, Crews identifies the authors, artists, or other cultural figures that McCarthy references; gives the source of the reference in McCarthy's papers; provides context for the reference as it appears in the archives; and explains the significance of the reference to the novel or play that McCarthy was working on. This groundbreaking exploration of McCarthy's literary influences—impossible to undertake before the opening of the archive—vastly expands our understanding of how one of America's foremost authors has engaged with the ideas, images, metaphors, and language of other thinkers and made them his own.

"The OSS is after Jimmy, and they're planning on using his daughter to catch him. But Jimmy will tear the world apart to keep his daughter safe. Literally. This morally bankrupt immortal freak of nature has absolutely no concern for the wellbeing of any human being besides himself and his Sweetpea. It'd be adorable if it weren't so scary"--Amazon.com.

A young woman discovers the boundless potential of her sexuality in this “lyrical and graphic” international bestselling classic novel of joyful eroticism (NPR). It begins with nineteen-year-old Emmanuelle’s flight from London to join her husband in Bangkok. On the airplane, she is seduced by the passenger seated next to her. By the time they land, she has indulged her irrepressible and insatiable sexual appetite, embarking on an odyssey of hedonistic sensual discovery that takes her from the arms of her husband to intimate encounters with the wives of his business associates, to further explorations wherein the philosophical and aesthetic facets of eroticism are expounded—and enacted—to the fullest degree. Much like Anne Desclos’ The Story of O and Anaïs Nin’s Delta of Venus, Emmanuelle is as pertinent today as it was when it was first published in 1967, a thrilling reminder of “how this revolutionary epic had an impact on the sexual liberation of women” (Le Parisien Magazine). “Emmanuelle is not just sex; it is an eroticism that is vintage, oneiric, utopian, and tender, an optimistic and radiant eroticism.” —Le Point “Emmanuelle’s eroticism is not pathological, unlike the eroticism of revolt. It is a crucial part of the satisfaction of the individual, which feels threatened by nothing, which unfolds in harmony with the world: an eroticism of perfect accord.” —Le Magazine Littéraire “Lyrical and graphic . . . But it’s not all salacious play-by-play. The sex scenes are interspersed with abstract musings about the nature of sex. . . . In short, it arouses.” —Teddy Wayne, NPR