Debut Historical Suspense Novel Wins IPPY Award for Best “Literary Fiction 2014” Stolen art, love, lust, deception, and revenge paint the pages of veteran journalist Lisa Barr’s debut novel, Fugitive Colors, an un-put-down-able page-turner. Booklist calls the WWII era novel, "Masterfully conceived and crafted, Barr’s dazzling debut novel has it all: passion and jealousy, intrigue and danger." Fugitive Colors asks the reader: How far would you go for your passion? Would you kill for it? Steal for it? Or go to any length to protect it? Hitler’s War begins with the ruthless destruction of the avant-garde, but there is one young painter who refuses to let this happen. An accidental spy, Julian Klein, an idealistic American artist, leaves his religious upbringing for the artistic freedom of Paris in the early 1930s. Once he arrives in the “City of Light,” he meets a young German artist, Felix von Bredow, whose larger-than-life personality overshadows his inferior artistic ability, and the handsome and gifted artist Rene Levi, whose colossal talent will later serve to destroy him. The trio quickly becomes best friends, inseparable, until two women get in the way—the immensely talented artist Adrienne, Rene’s girlfriend with whom Julian secretly falls in love, and the stunning artist’s model Charlotte, a prostitute-cum-muse, who manages to bring great men to their knees. Artistic and romantic jealousies abound, as the characters play out their passions against the backdrop of the Nazis' rise to power. Felix returns to Berlin, where his father, a blue-blooded Nazi, is instrumental in creating the master plan to destroy Germany’s modern artists, and seeks his son’s help. Bolstered by vengeance, Felix will lure his friends to Germany, an ill-fated move, which will forever change their lives. Twists and turns, destruction and obsession, loss and hope will keep you up at night, as you journey from Chicago to Paris, Berlin to New York. With passionate strokes of captivating prose, Barr proves that while paintings have a canvas, passion has a face—that once exposed, the haunting images will linger . . . long after you have closed the book. The Hollywood Film Festival awarded Fugitive Colors first prize for “Best Unpublished Manuscript” (Opus Magnum Discovery Award). Skyhorse Publishing, as well as our Arcade, Yucca, and Good Books imprints, are proud to publish a broad range of books for readers interested in fiction—novels, novellas, political and medical thrillers, comedy, satire, historical fiction, romance, erotic and love stories, mystery, classic literature, folklore and mythology, literary classics including Shakespeare, Dumas, Wilde, Cather, and much more. While not every title we publish becomes a New York Times bestseller or a national bestseller, we are committed to books on subjects that are sometimes overlooked and to authors whose work might not otherwise find a home.

A sequel to Nancy Bilyeau's The Blue, The Fugitive Colours again reveals a dazzling world of glamour and treachery in Georgian England, when beauty held more value than human life.

Originally published: New York: Mysterious Press, 1995.

&Lsquo;Githa Hariharan&Rsquo;S Fiction Is Wonderful&Mdash;Full Of Subtleties And Humour And Tenderness&Rsquo; &Mdash;Michael Ondaatje Mala&Rsquo;S Home In Delhi Is Empty, Save For A Lifetime Of Sketches Left Behind By Her Late Husband Asad And The Memories They Conjure. Sifting Through Them On Restless Afternoons And Sleepless Nights, Mala Summons Ghosts From Her Childhood, Relives The Heady Days Of Love And Optimism When Asad And She Robustly Defied Social Conventions To Build A Life Together&Mdash;And Struggles To Understand How Events Far Removed Could So Easily Snatch Away The Certainties They Had Always Taken For Granted. As Their Story Unfolds, Others Emerge: Of Sara, Mala And Asad&Rsquo;S Daughter, Who, Unable To Commit To A Cause That Will Renew Her Faith In Her Parents&Rsquo; Ideals And Her Own, Embarks On A Search For Purpose That Brings Her From Mumbai To Ahmedabad, The Venue Of Recent Carnage. Of Yasmin, Whom Sara Meets Across A Lately Created &Lsquo;Border&Rsquo;, A Survivor Of Mayhem Secretly Dreaming Of College And The Miraculous Return Of Her Missing Brother, Akbar, As She Navigates Menacing By-Lanes To Reach Her School Safely Every Day. Of Innumerable Other Lives Trapped In Limbo&Mdash;Some Caught In A Mesh Of Memory, Anguish And Hate, Others Seeking Release In Private Dreams And Valiant Hopes. Marked By An Astonishing Clarity Of Observation And Deep Compassion, Fugitive Histories Exposes The Legacy Of Prejudice That, Sometimes Insidiously, Sometimes Perceptibly, Continues To Affect Disparate Lives In Present-Day India. In Prose That Is At Once Elegant, Playful And Startlingly Inventive, Githa Hariharan Portrays With Remarkable Precision The Web Of Human Connections That Binds As Much As It Divides.

An intoxicating submersion into the world of the eighteenth century porcelain trade. Who can be trusted? How high are the stakes? From the industrial heartlands of England to the pomp and decadence of Versailles, Genevieve Planché is about to find out. But could her foray into the competitive world of the blue cost Genevieve her love? Or her life?

Angus Fletcher is one of our finest theorists of the arts, the heir to I. A. Richards, Erich Auerbach, Northrop Frye. This, his grandest book since the groundbreaking Allegory of 1964, aims to open another field of study: how thought--the act, the experience of thinking--is represented in literature. Recognizing that the field of formal philosophy is only one demonstration of the uses of thought, Fletcher looks for the ways other languages (and their framing forms) serve the purpose of certain thinking activities. What kinds of thinking accompany the writing of history? How does the gnomic sentence manage to represent some point of belief? The fresh insights Fletcher achieves at every turn suggest an anatomy of poetic and fictional strategies for representing thought--the hazards, the complications, the sufferings, the romance of thought. Fletcher's resources are large, and his step is sure. The reader samples his piercing vision of Milton's Satan, the original Thinker, leaving the pain of thinking as his legacy for mankind; Marvell's mysteriously haunting "green thought in a green shade"; Old Testament and Herodotus, Vico and Coleridge; Crane, Calvino, Stevens. Fletcher ranges over the heights of literature, poetry, music, and film, never losing sight of his central line of inquiry. He includes comments on the essential role of unclear, vague, and even irrational thinking to suggest that ideas often come alive as thoughts only in a process of considerable distress. In the end he gives us literature--not the content of thought, but its form, its shape, the fugitive colors taken on by the mind as represented in art.