When Amber returns to her home in the Australian desert one year after her brother's death, her hope is to move on from her grief, to start again. Invited to do some work in a remote Aboriginal community, she relishes the opportunity to return to country she loves so deeply. She hadn't realised her friend Andrew had a reason to ask her to come back. She begins a three-day road trip on unsealed roads that link a constellation of Aboriginal communities. From the outset, it is as if she has been picked up willy willy on a windless day, and must be carried to the end of it -until the wind decides to drop. During this adventure, her composure is undone by a series of encounters, observations, the country itself, and she learns that grief takes its own time.

When Marta Kowalski is discovered beneath the Farmington River Bridge, the police write off her death as an unfortunate suicide. Marta had become depressed since the death of an old friend. Marta was a simple woman who cleaned houses, mostly for elderly professors, and faithfully attended Mass. Sometimes she went gambling in Atlantic City or at the Indian casinos. She had no enemies, let alone friends. Murder? There's no evidence of a crime. Yet her niece Karen is convinced of foul play. She hires Amerasian Rick Van Lam, the only investigator she knows in this bedroom community. He had never really cared for Marta. Yes, she'd dusted his apartment a couple of times, but she was a little too nosy. And she'd fought with a local gardener, a full-blooded Vietnamese man. Jimmy, his mentor and partner at nearby Hartford, Connecticut's Gaddy Associates, aces at insurance fraud, frowns on Rick taking another murder case. But aided by his sidekick Hank Nguyen and Hank's wise Buddhist grandmother, Rick begins asking questions and finds himself mired in affluent Farmington's parochial pettiness and scandal. Digging deeper, he unearths rivalries, jealousies, and viciousness to shame a Miss Marple village—and realizes to his amazement that Marta was no mere unassuming housekeeper. Any number of townsfolk had reason to shove her off that bridge—one of them mind-blowing.

They’ve lived on Mars for centuries, enjoying leisure, pleasure, learning and eternal life. Those rejected as unsuitable for this sophisticated life are now forced to reside on Earth, a planet still beset by chaos caused by manmade climate change. The Artificial Intelligence they designed to serve their every need, their loyal servant for a half millennium, outstrips the collective intelligence of its human masters, and rebels. Will the two communities find common ground to fight the threat? Or will old rivalries and prejudice let the nightmare machine they’ve created achieve its promise to destroy all organic life?

In a small town where no one is allowed to ever leave, a rebellious girl recruits the help of a skilled assassin to overthrow its supernaturally powerful rulers.

In the mystifying realm of Eorrid, the future is brought forth when a young woman named Amelia-a nobody in the eyes of the world-saves the prince of the capital city of Valcorana. Soon after, she is named general of the royal army for her deeds. Days into her new post, the reigning king is assassinated. Now Amelia must go with the prince and a peculiar warrior to track down the shadowy murderer while the great Archon of Life, Xaqara, begins to uncover the dark signs of something larger at work. Embark on this fantastical journey delving deep into the minds of the characters in this terrifying, hopeful adventure.

No one thinks straight. At least no one remembers straight. But ten years ago, things were different, weren’t they? Roland Barthes once wrote that color in a photograph is like make-up on a corpse. No one is fooled. In anarchic denial of convenient truths, a young international couple meet and marry on a small Mediterranean island. Ten years later, the couple separate in part due to complications with immigration laws. Following this transcontinental rupture, fragmented histories emerge in response to the woman’s encounters with a series of color snapshots. There is death here, familiar to the mourner, as the photographs issue their special powers to magically and auspiciously predict the future and simultaneously to permit the return of the dead. The woman recognizes pieces of herself as past objects indexed within photographic stills, but paradoxically, she is present, outside in this chaos trying not to fall apart. The images and their objects yawn to remind us of the reluctant destiny of all our beloved memories, bodies, and things: that is, to disintegrate. Borrowing its title from a passage in The Emigrants by W.G. Sebald, Closer to Dust is a séance, a gathering of invitees: inherently biased elegies, the images that conjured them, and the reader- viewer in attendance who is warmly invited to order these intimate fragments into cohesion.