A New York Times Bestseller! There may only be one killer, but no one is innocent in this thriller from Natasha Preston, the #1 New York Times bestselling author of THE CELLAR! A weekend partying at a remote cabin is just what Mackenzie needs. She can't wait to let loose with her friends. But a crazy night of fun leaves two of them dead—murdered. With no signs of a forced entry or struggle, suspicion turns to the five survivors. Someone isn't telling the truth. And Mackenzie's first mistake? Assuming the killing is over... Teen thrillers also by Natasha Preston: The Cellar Awake You Will Be Mine The Lost The Twin

A cruise to die for is about David and his beautiful bride Nicky taking a cruise around the Caribbean sea. David and Nicky captain Duane and his crew and the rest of the passengers have no idea that there is a killer lurking around the ship. No one knows what the killer looks like or how tall the killer is or what color his hair and eyes are. From the time they leave Miami until they dock in the Cayman islands the killer lurks around the ship for the perfect prey as the killer strikes every night. As David and Nicky make friends the killer kills them one by one. Then one day the killer kills David and Nicky as David finds out who the killer really is? This story reads like a roller coaster it has its ups and downs along with some twist and turns before David finds out who the killer!

After suffering several tragedies, Jackson Sansbury buys and renovates a secluded cabin resort in Ohio, only to have beautiful L.A. songwriter Audra Lane show up and ask for a guide in acclimating to the wilderness. Original.

He thought the past was finally behind him Shade Sterling has carried a torch for Lizzy Conners since senior year of high school. But the timing never felt right for them, especially since his ex-girlfriend, Ariel, disappeared without a trace years ago. Now, with their ten-year class reunion approaching, Shade is tired of waiting. Determined to move on with his life and take a chance with Lizzy, he’s all in…until a car is dredged up from a local pond and Ariel’s remains are found inside. As the newly appointed sheriff, Lizzy must investigate every single lead—including the ones that point right to Shade. She knows she can’t let her heart get in the way of an investigation, but she can’t accept that Shade is guilty. Now if she can only prove it—both to the town out for justice and to herself.

Medical student Bethany Hastings and her grandmother were enjoying their cruise, a relaxing summer break before Beth resumed her studies. The cruise ship Vivianne, was a small, intimate ship. Unlike the larger cruise ships which were massive cities, the Vivianne was a pleasant floating village. Passengers enjoyed a variety of activities, interesting ports of call, and fine dining, as well as the companionship of other passengers, while being catered to by an attentive crew. It was the perfect vacation. Until Beth’s stumbled onto the Vivianne’s deep, dark secret and her idyllic cruise became a nightmare. Because not all the passengers were enjoying the cruise. Below deck, hidden in the bowels of the ship, were ten kidnapped children. Ten little girls who existed in deplorable conditions. Ten little girls who would be smuggled into the country to be groomed and sold as prostitutes. They were the units.

This book examines the significance of cabins and other temporary seasonal dwellings as important symbols in modern Norwegian cultural and literary history. The author uses Michel Foucault’s notion of the “heterotopia”—an actual place that also functions imaginatively as a kind of real-world utopia—to examine how cabins have signified differently during successive periods, from an Enlightenment trope of simplicity and moderation, through the rise of tourism, into a period of increasing individualism and alienation from nature. For each period discussed, the author relates a widely recognized real world cabin to a cluster of thematically related literary texts from a wide variety of genres. Cabins in Modern Norwegian Literature considers both central canonical works, such as Camilla Collett’s The District Governor’s Daughters, Bjørnstjerne Bjørnson’s Synnøve Solbakken, Henrik Ibsen’s When We Dead Awaken, and Knut Hamsun’s The Growth of the Soil, as well as less widely known literary works and texts from marginal genres such as hunting narratives and crime fiction. In addition, the book contains analyses of a few key films from the contemporary period that also activate the cabin as a motif. The central argument is that while Norwegians today tend to think of cabin culture as essentially unchanging over a long span of time, it has in fact changed dramatically over the past two hundred years, and that it is an extremely rich and complex cultural phenomenon deeply imbedded in the construction of national identity.