This “must-read for fans of Nordic noir” (BookPage, starred review) follows detectives Korner and Werner as they search for a missing teenager and uncover the web of lies that has threatened his life—and may prevent him from ever being found. When fifteen-year-old Oscar Dreyer-Hoff disappears in this “masterpiece” (Booklist, starred review), the police assume he’s simply a runaway—a typically overlooked middle child doing what teenagers do all around the world. But his frantic family is certain that something terrible has happened. After all, what runaway would leave behind a note that reads: He looked around and saw the knife that had stabbed Basil Hallward. He had cleaned it many times, till there was no stain left upon it. It was bright and glistened. As it had killed the painter, so it would kill the painter’s work, and all that that meant. It would kill the past, and when that was dead, he would be free. It’s not much to go on, but it’s all that detectives Jeppe Kørner and Anette Werner have. And with every passing hour, as the odds of finding a missing person grow dimmer, it will have to be enough.

These are the stories of the twentieth century on Grays Harbor. Based on two decades of research by the staff of The Daily World, "On the Harbor" is a unique narrative of local history, with separate chapters on the fourteen top stories of the past hundred years and biographies of Citizens of the Century. Also included are a first-hand account by a veteran Wobbly on the free-speech fight of 1911, Ed Van Syckle on sailing with legendary Capt. Ralph E. Peasley, and Murray Morgan on working for the Grays Harbor Washingtonian in Hoquiam during the Depression. With more than a hundred photographs from the archives of the Daily World and the Jones Historical Collection and nearly 200 sidebars on what to read, how to speak like a native and who's who in Harbor history, this book is a suitable for everyone from the casual reader to the ardent scholar, for the coffee table or the school library. Come along and read a century's worth of stories about life on gritty old Grays Harbor.

On the centennial of Joseph Mitchell's birth, here is a new edition of the classic collection containing his most celebrated pieces about New York City. Fifty years after its original publication, The Bottom of the Harbor is still considered a fundamental New York book. Every story Mitchell tells, every person he introduces, every scene he describes is illuminated by his passion for the eccentrics and eccentricities of his beloved adopted city. All of the pieces here are connected in one way or another--some directly, some with a kind of mysterious circuitousness--to New York's fabled waterfront, the terrain that Mitchell brilliantly made his own. They tell of a life that has passed--of vacant hotel rooms, deserted communities, once-thriving fishing areas that are now polluted and studded with wrecks. Included are "Up in the Old Hotel," a portrait of Louis Morino, the proprietor of a restaurant called (to his disgust) Sloppy Louie's; "The Rats on the Waterfront," which has inspired countless writers to attempt portraits of these most demonized New Yorkers; and "Mr. Hunter's Grave," widely considered to be the finest single piece of nonfiction to have ever appeared in the pages of The New Yorker. Here is the essential work of a legendary writer.

A collection of local photographer Richard E. Stoner's work which captured Ashtabula's transformations over time. Post-World War II Ashtabula was a major Great Lakes port with a thriving downtown. Local photographer Richard E. Stoner began taking photographs of the growing city in 1938, and for the next 58 years, his lens captured Ashtabula's businesses, industries, and citizens. His commercial accounts ranged from the harbor's Pinney Dock and Transport Company, to Main Avenue's locally-owned Carlisle-Allen Company department store, to Ashtabula's major war industries. Dick Stoner's earlier photographs capture the Ashtabula that once was, including the week-long Sesquicentennial Celebration of 1953. His later photos record the beginnings of fundamental change in our way of life. Also included in this volume are some pre-1930s photographs by Vinton N. Herron, whose work Stoner purchased when Herron retired. For Ashtabulans, this is a family album. For others, it is a look at a bygone time in Midwest America.