The first in a brand-new WWII historical mystery series introduces WPC Billie Harkness - a female police officer who risks her life to protect the home front in the British coastal city of Hull. 1940. Britain is at war. Rector's daughter Wilhelmina Harkness longs to do her duty for her country, but when her strict mother forbids her to enlist, their bitter argument has devasting consequences. Unable to stay in the village she loves, Wilhelmina - reinventing herself as Billie - spends everything she has on a one-way ticket up north. Hull is a distant, dangerous city, but Billie is determined to leave her painful memories behind and start afresh, whatever the cost. The last thing Billie expects on her first evening in Hull, however, is to be caught in the city's first air raid - or to stumble across the body of a young woman, suspiciously untouched by debris. If the air raid didn't kill the glamorous stranger, what did? Billie is determined to get justice, and her persistence earns her an invitation to the newly formed Women's Police Constabulary. But as the case unfolds, putting her at odds with both high-ranking members of the force as well as the victim's powerful family, Billie begins to wonder if she can trust her new friends and colleagues . . . or if someone amongst them is working for the enemy. DEATH IN A BLACKOUT is a perfect pick for fans of Jacqueline Winspear, Rhys Bowen and Susan Elia MacNeal.

When FINAL BLACKOUT was written there was still a Maginot Line, Dunkirk was just another French coastal town and the Battle of Britain, the Bulge, Saipan, Iwo, V2s and Nagasaki were things unknown and far ahead in history. While it concerns these things, its action will not take place for many years yet to come and it is, therefore, still a story of the future though some of the "future" it embraced (about one fifth) has already transpired. When published in magazine form before the war it created a little skirmish of its own and, I am told, as time has gone by and some of it has unreeled, interest in it has if anything increased. So far its career has been most adventurous as a story. The "battle of FINAL BLACKOUT" has included loud wails from the Communists—who said it was pro-fascist (while at least one fascist has held it to be pro-Communist). Its premises have been called wild and unfounded on the one hand while poems (some of them very good) have been written about or dedicated to the Lieutenant. Meetings have been held to nominate it to greatness while others have been called to hang the author in effigy (and it is a matter of record that the last at least was successfully accomplished). The British would not hear of its being published there at the time it appeared in America, though Boston, I am told, remained neutral—for there is nothing but innocent slaughter in it and no sign of rape. There are those who insist that it is all very bad and those who claim for it the status of immortality. And while it probably is not the worst tale ever written, I cannot bring myself to believe that FINAL BLACKOUT, as so many polls and such insist, is one of the ten greatest stories ever published. Back in those mild days when Pearl Harbor was a place you toured while vacationing at Waikiki and when every drawing room had its business man who wondered disinterestedly whether or not it was not possible to do business with Hitler, the anti-FINAL BLACKOUTISTS (many of whom, I fear, were Communists) were particularly irked by some of the premises of the tale. Russia was, obviously, a peace-loving nation with no more thought than America of entering the war. England was a fine going concern without a thought, beyond a contemptuous aside, for the Socialist who, of course, could never come to power. One must understand this to see why FINAL BLACKOUT slashed about and wounded people. True enough, some of its premises were far off the mark. It supposed, for instance, that the politicians of the great countries, particularly the United States, would push rather than hinder the entrance of the whole world into the war. In fact, it supposed, for its author was very young, that politicians were entirely incompetent and would not prevent for one instant the bloodiest conflict the country had ever known. Further, for the author was no critic, it supposed that the general staffs of most great nations were composed of stupid bunglers who would be looking up their friends on the selection board when they should be looking to their posts and that the general world wide strategy of war would go off in a manner utterly unadroit to the sacrifice of efficiency. It surmised that if general staffs went right on bungling along, military organization would cease to exist, and it further—and more to the point—advanced the thought that the junior combat officer, the noncom and, primarily the enlisted men would have to prosecute the war. These, it believed, would finally be boiled down, by staff "stupidity," to a handful of unkillables who would thereafter shift for themselves. FINAL BLACKOUT declared rather summarily—and very harshly, for the author was inexperienced in international affairs—that the anarchy of nations was an unhealthy arrangement maintained by the greed of a few for the privileges of a few and that the "common people" (which is to say those uncommon people who wish only to be let go about their affairs of getting enough to eat and begetting their next generation) would be knocked flat, silly and completely out of existence by these brand new "defensive" weapons which would, of course, be turned only against soldiers. Bombs, atomics, germs and, in short, science, it maintained, were being used unhealthily and that, soon enough, a person here and there who was no party to the front line sortie was liable to get injured or dusty; it also spoke of populations being affected boomerang fashion by weapons devised for own governments to use. Certainly all this was heresy enough in that quiet world of 1939, and since that time, it is only fair to state, the author has served here and there and has gained enough experience to see the error of his judgment. There have been two or three stories modeled on FINAL BLACKOUT. I am flattered. It is just a story. And as the past few years have fortunately proven, it cannot possibly happen.

Homeland meets Marie Lu’s Legend in the explosive sequel to Blackout, which #1 New York Times bestselling author Ally Condie called “a thrilling combination of Wells’s trademark twists and terror. Fantastic!” It began with a virus. Then a series of attacks erupted across the nation. Now America is at war—and a handful of teens with impossible powers are its only defense. In Dead Zone, Robison Wells delivers his most nail-bitingly tense read yet—and an electrifying conclusion to a two-book series that’s perfect for fans of The Maze Runner and I Am Number Four.

A huge bestseller in England, France, and Australia, the third book in the Dark Iceland series from a spectacular new crime writer. "Easily the best yet. Beautifully written and elegantly paced with a plot that only gradually becomes visible, as if the reader had been staring into the freezing fog waiting for shapes to emerge."—The Guardian, UK (Readers' Books of the Year 2016) "A chiller of a thriller whose style and pace are influenced by Jónasson’s admiration for Agatha Christie. It’s good enough to share shelf space with the works of Yrsa Sigurdardottir and Arnaldur Indridason, Iceland’s crime novel royalty."—The Washington Post Hailed for combining the darkness of Nordic Noir with classic mystery writing in the tradition of Agatha Christie, author Ragnar Jónasson’s books are haunting, atmospheric, and complex. Blackout, the latest Ari Thór thriller, delivers another dark mystery that is chillingly stunning with its complexity and fluidity. On the shores of a tranquil fjord in Northern Iceland, a man is brutally beaten to death on a bright summer's night. As the 24-hour light of the arctic summer is transformed into darkness by an ash cloud from a recent volcanic eruption, a young reporter leaves Reykajvik to investigate on her own, unaware that an innocent person's life hangs in the balance. Ari Thor Arason and his colleagues on the tiny police force in Siglufjordur struggle with an increasingly perplexing case, while their own serious personal problems push them to the limit. What secrets does the dead man harbour, and what is the young reporter hiding? As silent, unspoken horrors from the past threaten them all, and the darkness deepens, it's a race against time to find the killer before someone else dies.

A memoir of unblinking honesty and poignant, laugh-out-loud humor, Blackout is the story of a woman stumbling into a new kind of adventure -- the sober life she never wanted. For Sarah Hepola, alcohol was "the gasoline of all adventure." She spent her evenings at cocktail parties and dark bars where she proudly stayed till last call. Drinking felt like freedom, part of her birthright as a strong, enlightened twenty-first-century woman. But there was a price. She often blacked out, waking up with a blank space where four hours should be. Mornings became detective work on her own life. What did I say last night? How did I meet that guy? She apologized for things she couldn't remember doing, as though she were cleaning up after an evil twin. Publicly, she covered her shame with self-deprecating jokes, and her career flourished, but as the blackouts accumulated, she could no longer avoid a sinking truth. The fuel she thought she needed was draining her spirit instead. A memoir of unblinking honesty and poignant, laugh-out-loud humor, Blackout is the story of a woman stumbling into a new kind of adventure -- the sober life she never wanted. Shining a light into her blackouts, she discovers the person she buried, as well as the confidence, intimacy, and creativity she once believed came only from a bottle. Her tale will resonate with anyone who has been forced to reinvent or struggled in the face of necessary change. It's about giving up the thing you cherish most -- but getting yourself back in return.

Poet and cartoonist Austin Kleon has discovered a new way to read between the lines. Armed with a daily newspaper and a permanent marker, he constructs through deconstruction—eliminating the words he doesn't need to create a new art form: Newspaper Blackout poetry. Highly original, Kleon's verse ranges from provocative to lighthearted, and from moving to hysterically funny, and undoubtedly entertaining. The latest creations in a long history of "found art," Newspaper Blackout will challenge you to find new meaning in the familiar and inspiration from the mundane. Newspaper Blackout contains original poems by Austin Kleon, as well as submissions from readers of Kleon's popular online blog and a handy appendix on how to create your own blackout poetry.