In this brutal, gripping novel, Selva Almada narrates the case of three small-town teenage girls murdered in the 1980's in the interior of Argentina.Three deaths without culprits: 19-year old Andrea Danne, stabbed in her own bed; 15-year old María Luisa Quevedo, raped, strangled, and dumped in wasteland; and 20-year old Sarita Mundín, whose disfigured body was found on a river bank. Almada takes these and other tales of abused women to weave together a dry, straightforward portrait of gender violence that surpasses national borders and speaks to readers' consciousness all over the world.Following the success of The Wind That Lays Waste , internationally acclaimed Argentinian author Selva Almada dives into the heart of this problem with a reported novel, comparable to Truman Capote's In Cold Blood or John Hersey's Hiroshima , in response to the urgent need for attention to the ongoing catastrophe that is femicide.Not a police chronicle, not a thriller, but a contemporary noir novel that lives in the hearts of these women and the men who have abused them. Almada captures the invisible, and with lyrical brutality, blazes a new trail in journalistic fiction.

A NEW YORK TIMES NOTABLE BOOK OF 2018 An Edgar Award nominee for best critical / biographical Best of 2018 according to Kirkus, The Boston Globe,The New York Times, The Portland Mercury, Bustle, Thrillist, and Electric Lit A New York Times Editor's Choice, a best of summer 2018 according to Bitch Magazine, Harpers Bazaar, The Millions, Esquire, Refinery29, Nylon, PopSugar, The Chicago Tribune, Book Riot, and CrimeReads In this poignant collection, Alice Bolin examines iconic American works from the essays of Joan Didion and James Baldwin to Twin Peaks, Britney Spears, and Serial, illuminating the widespread obsession with women who are abused, killed, and disenfranchised, and whose bodies (dead and alive) are used as props to bolster men’s stories. Smart and accessible, thoughtful and heartfelt, Bolin investigates the implications of our cultural fixations, and her own role as a consumer and creator. Bolin chronicles her life in Los Angeles, dissects the Noir, revisits her own coming of age, and analyzes stories of witches and werewolves, both appreciating and challenging the narratives we construct and absorb every day. Dead Girls begins by exploring the trope of dead women in fiction, and ends by interrogating the more complex dilemma of living women – both the persistent injustices they suffer and the oppression that white women help perpetrate. Reminiscent of the piercing insight of Rebecca Solnit and the critical skill of Hilton Als, Bolin constructs a sharp, perceptive, and revelatory dialogue on the portrayal of women in media and their roles in our culture.

Jaycee and Rachel were best friends. But that was before. Before that terrible night at the old house. Before Rachel shut Jaycee out. Before Jaycee chose Skyler over Rachel. Then Rachel is found dead. The police blame a growing gang problem in their small town, but Jaycee is sure it has to do with that night at the old house. Rachel's text is the first clue--starting Jaycee on a search that leads to a shocking secret. Rachel's death was no random crime, and Jaycee must figure out who to trust before she can expose the truth. Jennifer Shaw Wolf keeps readers on their toes in another dark, romantic story of murder and secrets.

IN THIS ASYLUM, YOUR MIND PLAYS TRICK ON YOU ALL THE TIME ... Delia's new house isn't just a house. Long ago, it was the Piven Institute for the Care and Correction of Troubled Females -- an insane asylum nicknamed "Hysteria Hall." However, many of the inmates were not insane, just defiant and strong willed. Kind of like Delia herself.But the house still wants to keep "troubled" girls locked away. So, in the most horrifying way, Delia becomes trapped. And that's when she learns that the house is also haunted.Ghost girls wander the hallways in their old-fashioned nightgowns. A handsome ghost boy named Theo roams the grounds. Delia learns that all the spirits are unsettled and full of dark secrets. The house, too, harbors shocking truths within its walls -- truths that only Delia can uncover, and that may set her free. And she'll need to act quickly -- before the house's power overtakes everything she loves.Katie Alender brings heart-pounding suspense, gorgeous writing, and a feminist twist to this tale of memories and madness.

There's something about almost dying that makes a girl rethink her priorities. Take Nicki Styx—she was strictly goth and vintage, until a brush with the afterlife leaves her with the ability to see dead people. Before you can say boo, Atlanta's ghosts are knocking at Nicki's door. Now her days consist of reluctantly cleaning up messes left by the dearly departed, leading ghouls to the Light . . . and one-on-one anatomy lessons with Dr. Joe Bascombe, the dreamy surgeon who saved her life. All this catering to the deceased is a real drag, especially for a girl who'd rather be playing hanky-panky with her hunky new boyfriend . . . who's beginning to think she's totally nuts. But things get even more complicated when a friend foolishly sells her soul to the devil, and Nicki's new gift lands her in some deep voodoo. As it turns out for Nicki Styx, death was just the beginning.

“In this terrific series opener, Afia evokes the women’s lives in all their wayward and beautiful glory, especially the abruptness with which their dreams, hopes and fears cease to exist.”--The New York Times The start of an exciting new historical mystery series set during the Harlem Renaissance from debut author Nekesa Afia Harlem, 1926. Young Black women like Louise Lloyd are ending up dead. Following a harrowing kidnapping ordeal when she was in her teens, Louise is doing everything she can to maintain a normal life. She’s succeeding, too. She spends her days working at Maggie’s Café and her nights at the Zodiac, Harlem’s hottest speakeasy. Louise’s friends, especially her girlfriend, Rosa Maria Moreno, might say she’s running from her past and the notoriety that still stalks her, but don’t tell her that. When a girl turns up dead in front of the café, Louise is forced to confront something she’s been trying to ignore—two other local Black girls have been murdered in the past few weeks. After an altercation with a police officer gets her arrested, Louise is given an ultimatum: She can either help solve the case or wind up in a jail cell. Louise has no choice but to investigate and soon finds herself toe-to-toe with a murderous mastermind hell-bent on taking more lives, maybe even her own....

Melanie Thernstrom's senior thesis was entitled Mistakes of Metaphor, an account of the mysterious disappearance and murder of her best friend, Bibi Lee. That thesis, reworked as The Dead Girl, was published by Pocket Books in 1990 to major critical acclaim. Berkeley student Roberta (Bibi) Lee went running with her lover Bradley Page on a Sunday in 1984. He came back alone. When she failed to return police mounted one of the largest missing–person searches in California history. Five weeks later Roberta's battered body was found and within hours, Page had confessed to Roberta's murder—a confession he was later to recant. With its enduring themes of innocence and evil, truth and uncertainty, human motives and emotions, The Dead Girl is a complex exploration of the nature of reality and the frail, shifting and suspect ways in which we respond to it.