THE TROUBLE BEGAN ON GRANITE LEDGE FARM WHEN NATE BREWSTER WAS FOUND DEAD, face down on the ledge where the ladder fell from the barn roof with him on it. His wife, Patience, contends it was nothing more than an unfortunate accident. The authorities believe otherwise and charge her brother-in-law and her two nephews with murder. The court convicts only one man. But insurance investigator Benjamin B. Beach is more tenacious and he refuses to believe the conclusions. Beach is positive Nates fall was not an accident, the real killer was not identified, and Patience was covering up for her relatives in court. So the arrogant man attacks the vulnerable woman, fully expecting to extract the truth by grilling her for the facts. Drawing support from Cleve, an attentive neighbor whose wife has left him, and Molly, her devoted English setter and best friend, Patience resists her latest aggressor and defends her dysfunctional clan. Disguising shocking conflicts within the family, wily Patience duels with Beach. As the resilient woman skillfully manipulates her interrogator away from the truth, she reconsiders the familys hidden secrets and, choosing the high road, she escapes from her life of oppression in a way she never expected.

In this innovative and learned study, Dennis Kezar examines how Renaissance poets conceive the theme of killing as a specifically representational and interpretive form of violence. Closely reading both major poets and lesser known authors of the early modern period, Kezar explores the ethical self-consciousness and accountability that attend literary killing, paying particular attention to the ways in which this reflection indicates the poet's understanding of his audience. Among the many poems through which Kezar explores the concept of authorial guilt elicited by violent representation are Skelton's Phyllyp Sparowe, Spenser's Faerie Queene, Shakespeare's Julius Caesar, the multi-authored Witch of Edmonton, and Milton's Samson Agonistes.

“Much like Donna Tartt’s The Secret History, M. L. Rio’s sparkling debut is a richly layered story of love, friendship, and obsession...will keep you riveted through its final, electrifying moments.” —Cynthia D’Aprix Sweeney, New York Times bestselling author of The Nest "Nerdily (and winningly) in love with Shakespeare...Readable, smart.” —New York Times Book Review On the day Oliver Marks is released from jail, the man who put him there is waiting at the door. Detective Colborne wants to know the truth, and after ten years, Oliver is finally ready to tell it. A decade ago: Oliver is one of seven young Shakespearean actors at Dellecher Classical Conservatory, a place of keen ambition and fierce competition. In this secluded world of firelight and leather-bound books, Oliver and his friends play the same roles onstage and off: hero, villain, tyrant, temptress, ingénue, extras. But in their fourth and final year, good-natured rivalries turn ugly, and on opening night real violence invades the students’ world of make-believe. In the morning, the fourth-years find themselves facing their very own tragedy, and their greatest acting challenge yet: convincing the police, each other, and themselves that they are innocent. If We Were Villains was named one of Bustle's Best Thriller Novels of the Year, and Mystery Scene says, "A well-written and gripping ode to the stage...A fascinating, unorthodox take on rivalry, friendship, and truth."

In this innovative and learned study, Dennis Kezar examines how Renaissance poets conceive the theme of killing as a specifically representational and interpretive form of violence. Closely reading both major poets and lesser known authors of the early modern period, Kezar explores the ethical self-consciousness and accountability that attend literary killing, paying particular attention to the ways in which this reflection indicates the poet's understanding of his audience. Among the many poems through which Kezar explores the concept of authorial guilt elicited by violent representation are Skelton's Phyllyp Sparowe, Spenser's Faerie Queene, Shakespeare's Julius Caesar, the multi-authored Witch of Edmonton, and Milton's Samson Agonistes.

He may look like nothing but a country boy, but Chrono Alcon is actually one of the most powerful demons the world has ever seen! All he's interested in is attending school like any other kid, but when the Demon King finds out about Chrono's power, he'll have to spend his days studying, and his nights in the dungeons, fighting monsters...?! The hit fantasy adventure manga comes to print, perfect for fans of Goblin Slayer, The Rising of the Shield Hero, and That Time I Got Reincarnated as a Slime! MISUNDERSTOOD MEDIOCRITY MAYHEM! Now that he has reached 20 years of age, self-proclaimed mediocre demon Chrono Alkon is eager to begin his mandatory year of schooling in the Demon King’s castle. It’s his dream to spend the year having fun and making friends, but when he gets a shocking result in his class designation test, that dream is put in jeopardy. To make things even more difficult, Chrono is from a small remote village and has little sense of what is considered “normal” at school. As the resident country bumpkin, he finds himself facing maddening misunderstandings and unexpected adventures. Will this “mediocre” demon ever have the peaceful school life he’s always wanted, or will he be derailed by the demons who understand him better than he understands himself?