Former forensics expert and current Toulouse professor Enzo Macleod is forced to take a break from his personal and professional pursuits when he is diagnosed with a terminal illness. Worse, though, it seems he has become the victim of someone who is trying to destroy his life--by ruining his credit, threatening him and his family, and finally framing him for murder. With no choice but to fight back, Macleod stashes his family in a safe house and sets to work. Increasingly convinced that the cold case he's investigating is connected to his persecution, Macleod tries to connect the dots before it's too late to save his life and the lives of his loved ones . . .

THE 12 MILLION COPY BESTSELLING AUTHOR OF THE LEWIS TRILOGY AND THE CHINA THRILLERS AWARD WINNING AUTHOR OF THE CWA DAGGER IN THE LIBRARY 2021 'Enzo MacLeod is one of the most unusual crime solvers I have ever met.' BookBrowse 'No one can create a more eloquently written suspense novel than Peter May.' New York Journal of Books In the third thrilling instalment of the series, Enzo is running out of time in more ways than one... FRANCE. A death sentence. Diagnosed with a terminal illness, Enzo Macleod is running out of time to crack the most confounding of unsolved French murders. A death threat. His daughter is nearly killed, Enzo is mugged - and then he is arrested. Someone is trying to destroy his character. Someone is framing him for murder. A deathly enemy. Killers from the past will stop at nothing to halt Enzo, who must use all his forensic skills to solve the case - before they succeed. LOVED BLACKLIGHT BLUE? Read book 4 in the series, FREEZE FRAME

Untie the string and unwrap the brown paper to reveal . . . Journal 3 Limited Edition! This 288-page book contains all of the content of the regular edition, plus all-new top-secret black light pages on real parchment; a cover with leather texture and shiny metallic pieces; a magnifying glass; a tassel bookmark; and removable photos and notes. This $150 limited edition will also include a signed note from the creator of Gravity Falls and co-writer of Journal 3, Alex Hirsch himself.

One of the most ubiquitous items of the 1960s and 1970s, the black light poster represented some of the most imaginative, colorful, and "out there" creativity of the period; Ultraviolet is the first book to ever celebrate this alternative art form. Daniel Donahue, an amateur historian of counterculture, has collected hundreds of vintage blacklight posters and chosen 69 of the best for this volume. Covering some of the more relevant subjects of the period, including Sex, Drugs, Rock ’N’ Roll, Earth Awareness, Black Power, and Astrology, Ultraviolet has been printed with flourescent inks so that the pages will actually glow under black light. This hip volume is a gift from the fifth dimension for anyone interested in alternative culture or graphic design.

A collection of four all-new strange stories from the sleepy town of Gravity Falls in one original graphic novel. Written by Alex Hirsch. Illustrated by Asaf Hanuka, Dana Terrace, Ian Worrel, Jacob Chabot, Jim Campbell, Joe Pitt, Kyle Smeallie, Meredith Gran, Mike Holmes, Priscilla Tang, Serina Hernandez, Stephanie Ramirez, and Valerie Halla.

Pop-art connoisseurs are treated to a mind-bending journey through the blistering paintings of San Francisco artist Dirty Donny Gillies. Take a visual tour of his vibrant, hand-drawn and screen-printed poster art series "Blacklight Rebellion" and hand-painted solo art show "Fantastic Voyage." This ultimate collection of cool also includes his iconic work for Stern Pinball, metal giant Metallica, Vans Skate, Snap-On tools, and Cruz Pedregon's Top Fuel Funny Car, not to mention work on his own air-brushed 1970s boogie van. The art attack continues with eye-melting imagery from skateboard decks, decal sets, toys, guitars, drums, and his series of model kits for AMT. Pop-art collectors will appreciate full-page photos from the likes of legendary street photographer Ricky Powell, as well as the commentary by Ed Robertson of the Bare Naked Ladies, Mastadon's Brann Dailor, Brendon Small of animated series Metalocalypse, Howie Pyro, (Danzig, D-Generation) and fellow weirdo artist Skinner.

Kehinde Wiley painted President Obama's official portrait and this is an early book from him documenting his extraordinary talents. "For most of Kehinde Wiley's very successful career, he has created large, vibrant, highly patterned paintings of young African American men wearing the latest in hip hop street fashion. The theatrical poses and objects in the portraits are based on well-known images of powerful figures drawn from seventeenth- through nineteenth-century Western art. Pictorially, Wiley gives the authority of those historical sitters to his twenty-first-century subjects." -National Portrait Gallery "My intention is to craft a world picture that isn't involved in political correctives or visions of utopia. It's more of a perpetual play with the language of desire and power." -Kehinde Wiley "Wiley inserts black males into a painting tradition that has typically omitted them or relegated them to peripheral positions. At the same time, he critiques contemporary portrayals of black masculinity itself.... He systematically takes a 'pedestrian' encounter with African-American men, elevates it to heroic scale, and reveals-through subtle formal alterations-that postures of power can sometimes be seen as just that, a pose." -Art in America Los Angeles native and New York-based visual artist Kehinde Wiley has firmly situated himself within art history's portrait painting tradition. As a contemporary descendent of a long line of portraitists-including Reynolds, Gainsborough, Titian, Ingres, and others-Wiley engages the signs and visual rhetoric of the heroic, powerful, majestic, and sublime in his representation of urban black and brown men found throughout the world. By applying the visual vocabulary and conventions of glorification, wealth, prestige, and history to subject matter drawn from the urban fabric, Wiley makes his subjects and their stylistic references juxtaposed inversions of each other, imbuing his images with ambiguity and provocative perplexity. In Black Light, his first monograph, Wiley's larger-than-life figures disturb and interrupt tropes of portrait painting, often blurring the boundaries between traditional and contemporary modes of representation and the critical portrayal of masculinity and physicality as it pertains to the view of black and brown young men. The models are dressed in their everyday clothing, most of which is based on far-reaching Western ideals of style, and are asked to assume poses found in paintings or sculptures representative of the history of their surroundings. This juxtaposition of the "old" inherited by the "new"-who often have no visual inheritance of which to speak-immediately provides a discourse that is at once visceral and cerebral in scope. Without shying away from the socio-political histories relevant to the subjects, Wiley's heroic images exhibit a unique modern style that awakens complex issues which many would prefer remain mute.