"Winter Santiaga hit time served. Still stunning, still pretty, still bold, still loves her father more than any man in the world, still got her hustle and high fashion flow. She's eager to pay back her enemies, rebuild her father's empire, reset his crown, and ultimately to snatch Midnight back into her life no matter which bitch had him while she was locked up. But Winter is not the only one with revenge on her mind. Simone, Winter's young business partner and friend, is locked and loaded and Winter is her target. Will she blow Winter's head off? Can Winter dodge the bullets? Or will at least one bullet blast Winter into another world? Either way Winter is fearless. Hell is the same as any hood and certainly the Brooklyn hood she grew up in. That's what Winter thinks."--Provided by publisher.

Melissa Ginsburg's The House Uptown is an emotional coming-of-age novel about a young girl who goes to live with her eccentric grandmother in New Orleans after the death of her mother Ava, fourteen years old and totally on her own, has still not fully processed her mother’s death when she finds herself on a train heading to New Orleans, to stay with Lane, the grandmother she barely remembers. Lane is a well-known artist in the New Orleans art scene. She spends most of her days in a pot-smoke haze, sipping iced coffee, and painting, which has been her singular focus for years. Her grip on reality is shaky at best, but her work provides a comfort. Ava’s arrival unsettles Lane. The girl bears an uncanny resemblance to her daughter, whom she was estranged from before her death. Now her presence is dredging up painful and disturbing memories, which forces Lane to retreat even further into her own mind. As Ava and Lane attempt to find their way and form a bond, the oppressive heat and history of New Orleans bears down on them, forcing a reckoning neither of them are ready for.

A New York Times and USA TODAY Bestseller “50 Most Impactful Black Books of the Last 50 Years.” —Essence Nominated as one of America’s best-loved novels by PBS’s The Great American Read The instant classic from the #1 New York Times bestselling author of Life After Death brings the streets of New York to life in a powerful and utterly unforgettable novel. I came busting into the world during one of New York’s worst snowstorms, so my mother named me Winter. Ghetto-born, Winter is the young, wealthy daughter of a prominent Brooklyn drug-dealing family. Quick-witted, sexy, and business-minded, she knows and loves the streets like the curves of her own body. But when a cold Winter wind blows her life in a direction she doesn’t want to go, her street smarts and seductive skills are put to the test of a lifetime. Unwilling to lose, this ghetto girl will do anything to stay on top. Twenty-five years and over one million copies later, The Coldest Winter Ever is a bestseller and a national treasure, a classic handed down from one reading generation to the next. Whether you are reading it for the first time or have cherished it for years, you will never forget this Winter’s tale.

When a teenage prostitute disappears and later shows up in a pornographic film that ends in her murder, ex-CIA agent John Barrone agrees to investigate a snuff film kingpin who sells brutal sex and murder.

“Breakneck pace and solid atmosphere are the hallmarks here.” —AMERICAN LIBRARY ASSOCIATION When a local schoolteacher disappears from rural West Wheeling, acting sheriff Homer Deters investigates. Before long he's got three more missing persons, two unidentified bodies, a car theft, a twenty-three-vehicle pile-up in the center of town, a missing tiger, and a squad of agitated ATF agents to deal with. With no help from the Feds, Homer turns to his buddy, Rye Willis, and West Wheeling's eccentric postmistress, Nina Ross, to locate the missing, identify the bodies, and bring a murderer to justice. Packed with regional charm and Deters’ wit, Death in West Wheeling shows how wild one case can get.

On February 25, 1938, in the early days of the welfare system, the reviled poormaster Harry Barck—wielding power over who would receive public aid—died from a paper spike thrust into his heart. Barck was murdered, the prosecution would assert, by an unemployed mason named Joe Scutellaro. In denying Scutellaro money, Barck had suggested the man's wife prostitute herself on the streets rather than ask the city of Hoboken, New Jersey, for aid. The men scuffled. Scutellaro insisted that Barck fell on his spike; the police claimed he grabbed the spike and stabbed Barck. News of the poormaster's death brought national attention to the plight of ten million unemployed living in desperate circumstances. A team led by celebrated attorney Samuel Leibowitz of &“Scottsboro Boys&” fame worked to save Scutellaro from the electric chair, arguing that the jobless man's struggle with the poormaster was a symbol of larger social ills. The trial became an indictment &“of a system which expects a man to live, in this great democracy, under such shameful circumstances.&” We live in a time where the issues examined in Killing the Poormaster—massive unemployment, endemic poverty, and the inadequacy of public assistance—remain vital. With its insight into our social contract, Killing the Poormaster reads like today's news.

In this “exciting” sequel to The Man Who Understood Cats, psychiatrist Jack Caleb and cop John Thinnes must solve the murder of a Native American artist (Library Journal). Native American artist Blue Mountain Cat seems determined to provoke controversy with his new installation, which strikes art patron Jack Caleb as “Andy Warhol meets Jonathan Swift in Indian country.” As the artist’s former therapist, Caleb can’t help wondering what is driving this new aggressively satirical direction with pieces like Red Man’s Revenge and Native American Gothic. There’s something to offend everybody, many of whom are at the opening—including a litigious developer, an outraged Navajo woman, a black-market antiquities dealer, and the artist’s stunning blond wife, who discovers her husband stabbed to death in a gallery room with a bone knife from his own exhibit. When Chicago homicide detective John Thinnes arrives at the museum, he drafts his friend Caleb to help him navigate the crime scene and the terra incognita of the art world. As the suspects expand to include a desperate museum director, a savage critic, a married mistress, and a shady partner, the shrink and the cop once again find themselves something of an odd couple but a very effective detective duo . . .