A ." . . stunning first poetry collection. . . . These poems are howlingly nasty and perfectly executed. . . . Trowbridge's weapons are a deep puzzlement of feeling and a wonderful ear; he knows how to divert with jokes while he's about to attack: 'BLAM BLAM BLAM!'" -San Francisco Chronicle

In New York Times–bestselling author Jennifer Wilde’s spellbinding tale of romantic suspense, an ominous horoscope proves eerily accurate for a woman visiting a quaint English town “You will make a sudden journey and meet a dark stranger . . .” Author Jane Martin doesn’t believe in fate, so when she stumbles across her horoscope in the newspaper one day, she decides to disregard it. But then her widowed brother calls, asking her to take care of his children while he’s away at a science conference. He’s even booked her a first-class train ticket. En route to her brother’s house, Jane is accosted by one stranger only to be rescued by another. One of these handsome men is destined to come back into her life, because peaceful, centuries-old Abbotstown has been rocked by a string of bizarre burglaries—and a murder. There are no leads or suspects, but Jane’s precocious niece Rebecca insists she knows things the police aren’t aware of. After someone tries to break in to the house, Jane finds herself surrounded by too many men who say they want to protect her and the children. Suddenly she fears she is a pawn in a sinister intrigue in which she will not be able to distinguish hero from villain.

New York Times bestselling author Susan Sizemore presents an exciting twist on her popular Primes series: the novel read by the one and only Vampire Book Club! Share the thrills as you discover a hidden world where passions and fear run high, and a vampire General and an Empire princess together find illicit, unquenchable desire.... A twist of fate made Zoe Pappas heir to the Byzant throne. Bound by duty and devotion to keep the Empire safe, Zoe is captured while on a secret diplomatic mission and sent to an underground prisoner-of-war camp. In this strange, shadowy place, residents are governed by fellow inmate General Matthias "Doc" Raven, whose powerful magnetism rouses an urgent desire in Zoe. But the intensity of her attraction is matched by her surprise at discovering that Doc has a secret of his own: he is a vampire. Zoe's presence puts everyone in the camp in danger. Doc knows it, and knows too that Zoe's royal status makes it impossible for her to bond with a vampire. The only way to save her is to help her escape, and lose her forever. But some fires are impossible to quench, even when following your heart is the ultimate taboo....

"Memory opens for me through my body. I slip back because I catch a smell, hear a sound, or hold an evocative flavour on my tongue. But these single-sense glimpses of or gusts from the past are often fleeting. More compelling for me, more total, is when my whole body, the entire surface of my skin, and my muscles' movements connect me to my old self. Especially it is the movements of summer, when more of me meets the elements, while I am swimming, or feeling my bramble-scratched legs against hot rocks. Or when I am experiencing the lovely lassitude that fills me at the end of a long afternoon of sun and water as I stand slicing tomatoes for my supper, while corn boils, and sun falls in the window on a pile of raspberries in a bowl. All my senses, all, are alive." –from I'll Tell You a Secret A delightful, beautifully written and thoroughly engaging story of coming-of-age in the 1950s that focuses on Anne Coleman between the ages of fourteen and twenty-one, and her relationship with "Mr. MacLennan" (Canadian literary figure Hugh MacLennan), which played out in the summers in the village of North Hatley, Quebec, a picturesque resort that has been known to attract artists and writers and the upper-classes. In prose that is intimate, visual, and resonant with immediacy, Anne Coleman brings us back to summers in the 1950s, revealing the eccentricities of North Hatley and its residents, but most of all focusing on her special friendship with a man many years her senior. Independent, individualistic, sensually alert, as a young girl Anne Coleman did not fit the mould. Later, when Anne is eighteen, she leads a double life, one which follows the course of a romance with Frank, the dark, brooding European young man who has a strange hold over her, and the enigmatic Mr. MacLennan, whose own feelings for Anne suggest themselves to her in ways that are at once confusing, tantalizing, and deeply important. Along the way, the story also offers a wonderfully evocative portrayal of the 1950s, its sexual repressiveness and mores. The beautiful village of North Hatley comes alive in vivid ways. This is a unique coming-of-age story by a writer who writes sentences that cut to the bone.

Can the documentary be useful? Can a film change how its viewers think about the world and their potential role in it? In Kill the Documentary, the award-winning director Jill Godmilow issues an urgent call for a new kind of nonfiction filmmaking. She critiques documentary films from Nanook of the North to the recent Ken Burns/Lynn Novick series The Vietnam War. Tethered to what Godmilow calls the “pedigree of the real” and the “pornography of the real,” they fail to activate their viewers’ engagement with historical or present-day problems. Whether depicting the hardships of poverty or the horrors of war, conventional documentaries produce an “us-watching-them” mode that ultimately reinforces self-satisfaction and self-absorption. In place of the conventional documentary, Godmilow advocates for a “postrealist” cinema. Instead of offering the faux empathy and sentimental spectacle of mainstream documentaries, postrealist nonfiction films are acts of resistance. They are experimental, interventionist, performative, and transformative. Godmilow demonstrates how a film can produce meaningful, useful experience by forcefully challenging ways of knowing and how viewers come to understand the world. She considers her own career as a filmmaker as well as the formal and political strategies of artists such as Luis Buñuel, Georges Franju, Harun Farocki, Trinh T. Minh-ha, Rithy Panh, and other directors. Both manifesto and guidebook, Kill the Documentary proposes provocative new ways of making and watching films.

Set in a central European country about five years after the fall of communism, K.C. Frederick’s third novel, Accomplices, moves with a fevered urgency reminiscent of Graham Greene. As the nation confronts unprecedented changes, the protagonist, Stivan, must put his own life together. A man who’s become accustomed to thinking of himself as a failure and a victim, he’s driven by a crippling loneliness to seek a relationship with his former nurse. In re-opening this connection, though, Stivan gets a good deal more than he bargained for. Anya, whom he’s considered an icon of solidity, has recently had serious problems of her own and things are further complicated when he agrees to shelter her brother, Leni, who is on the run from his gangster boss in Paris. When Stivan discovers that the priest he’s working for is involved in illegal activities, he’s faced with more dangerous obstacles. In a landscape that is constantly shifting, Stivan and Anya are determined to believe in a future even as they come to recognize how their personal lives are inescapably entwined with the uncertainties of a larger world, where enemies are hard to tell from friends, and the unlikeliest people may turn out to be accomplices.