The portrait of a dangerous and unknowable lost soul, by “a chronicler nonpareil of 20th-century Guyanese life.” (Margaret Busby, The Guardian) Quiet, reserved, painfully shy, Galton Flood arrives in the Guyanese township of Linden haunted by the death of his domineering mother. There he meets Gemma Burrowes, a vibrant young woman eager to escape the confines of her father’s boarding house. They marry and make a home in the anonymous sprawl of Georgetown, Galton’s native city, where Gemma starts to realize that there is something very wrong with this match, and with Galton himself. On its first publication in 1978, The Murderer was greeted as a landmark in Caribbean literature, acclaimed both for its subtle portrayal of a disturbed anti-hero and for revealing with “uncanny precision . . . the discrepancy between the personal power of a woman within the family and her lack of influence outside it” (Homi Bhabha, Times Literary Supplement).

Jonathan Kellerman has distinguished himself as the master of the psychological thriller. Now L.A. psychologist-detective Alex Delaware confronts a long-unsolved murder of unspeakable brutality—an ice-cold case whose resolution threatens his survival, and that of longtime friend, homicide detective, Milo Sturgis. The nightmare begins when Alex receives a strange package in the mail with no return address. Inside is an ornate album filled with gruesome crime scene photos—a homicide scrapbook entitled The Murder Book. Alex can find no reason for anyone to send him this compendium of death, but when Milo views the book, he is immediately shaken by one of the images: a young woman, tortured, strangled, and dumped near a freeway ramp. This was one of Milo’s first cases as a rookie homicide cop: a vicious killing that he failed to solve, because just as he and his training partner began to make headway, the department closed them down. Being forced to abandon the young victim tormented Milo. But his fears prevented him from pursuing the truth, and over the years he managed to forget. Or so he thought. Now, two decades later, someone has chosen to stir up the past. As Alex and Milo set out to uncover what really happened twenty years ago, their every move is followed and their lives are placed in jeopardy. The relentless investigation reaches deep into L.A.’s nerve-centers of power and wealth—past and present. While peeling back layer after layer of ugly secrets, they discover that the murder of one forgotten girl has chilling ramifications that extend far beyond the tragic loss of a single life. A classic story of good and evil, sacrifice and sin, The Murder Book is a gripping page-turner that illuminates the darkest corridors of the human mind. It is a stunning tour de force. BONUS: This edition contains an excerpt from Jonathan Kellerman's Victims.

A seminal work and examination of the psychopathology of journalism. Using a strange and unprecedented lawsuit by a convicted murder againt the journalist who wrote a book about his crime, Malcolm delves into the always uneasy, sometimes tragic relationship that exists between journalist and subject. Featuring the real-life lawsuit of Jeffrey MacDonald, a convicted murderer, against Joe McGinniss, the author of Fatal Vision. In Malcolm's view, neither journalist nor subject can avoid the moral impasse that is built into the journalistic situation. When the text first appeared, as a two-part article in The New Yorker, its thesis seemed so radical and its irony so pitiless that journalists across the country reacted as if stung. Her book is a work of journalism as well as an essay on journalism: it at once exemplifies and dissects its subject. In her interviews with the leading and subsidiary characters in the MacDonald-McGinniss case -- the principals, their lawyers, the members of the jury, and the various persons who testified as expert witnesses at the trial -- Malcolm is always aware of herself as a player in a game that, as she points out, she cannot lose. The journalist-subject encounter has always troubled journalists, but never before has it been looked at so unflinchingly and so ruefully. Hovering over the narrative -- and always on the edge of the reader's consciousness -- is the MacDonald murder case itself, which imparts to the book an atmosphere of anxiety and uncanniness. The Journalist and the Murderer derives from and reflects many of the dominant intellectual concerns of our time, and it will have a particular appeal for those who cherish the odd, the off-center, and the unsolved.

TOM THORNE IS BACK . . . AND SO IS HIS WORST NIGHTMARE A gripping, grisly read. Mark Billingham is a terrific crime writer' ----- ANTHONY HOROWITZ Tom Thorne has it all. In Nicola Tanner and Phil Hendricks, Thorne has good friends by his side. He finally has a love life worth a damn and is happy in the job to which he has devoted his life... He has everything to lose. Hunting the woman responsible for a series of grisly murders, Thorne has no way of knowing that he will be plunged into a nightmare from which he may never wake. And he'll do anything to keep it. Finally, Thorne's past has caught up with him and a ruinous secret is about to be revealed. If he wants to save himself and his friends, he must do the unthinkable. PRAISE FOR MARK BILLINGHAM 'Mark Billingham is a master of psychology' Ian Rankin 'Fast-paced and twisting' Paula Hawkins 'At the very least it should reach the shortlist of this year's Booker prize' The Times

'An intricate and brilliantly written psychiatric perspective on the most perplexing of crimes' Kerry Daynes, author of The Dark Side of the Mind 'Beautifully written and very dark' Nimco Ali OBE 'Whodunnit' doesn't matter so much, not to a forensic psychiatrist. We're more interested in the 'why'. In his twenty-six years in the field, Richard Taylor has worked on well over a hundred murder cases, with victims and perpetrators from all walks of life. In this fascinating memoir, Taylor draws on some of the most tragic, horrific and illuminating of these cases - as well as dark secrets from his own family's past - to explore some of the questions he grapples with every day: Why do people kill? Does committing a monstrous act make someone a monster? Could any of us, in the wrong circumstances, become a killer? As Taylor helps us understand what lies inside the minds of those charged with murder - both prisoners he has assessed and patients he has treated - he presents us with the most important challenge of all: how can we even begin to comprehend the darkest of human deeds, and why it is so vital that we try? The Mind of a Murderer is a fascinating exploration into the psyche of killers, as well as a unique insight into the life and mind of the doctor who treats them. For fans of Unnatural Causes, The Examined Life and All That Remains. MORE PRAISE FOR THE MIND OF A MURDERER: 'A fascinating insight into what drives criminality - and a punchy polemic against mental-health service cuts' Jake Kerridge, Sunday Telegraph 'A fascinating, well-written and compelling account of the mental state in homicide' Alisdair Williamson, TLS 'A dark, fascinating and often surprising glimpse into the minds of those who kill, from a forensic psychiatrist who's seen it all' Rob Williams, writer of BBC's The Victim 'An excellent, engaging and honest book, full of interesting, powerful and important observations' Alison Liebling, Professor of Criminology and Criminal Justice, University of Cambridge

Lulu and Merry's childhood was never ideal, but on the day before Lulu's tenth birthday their father propels them into a nightmare. He's always hungered for the love of the girls' self-obsessed mother; after she throws him out, their troubles turn deadly. Lulu had been warned not let her father in, but when he shows up drunk, he's impossible to ignore. He bullies his way past Lulu, who then listens in horror as her parents struggle. She runs for help, but discovers upon her return that he's murdered her mother, stabbed her five-year-old sister, Merry, and tried, unsuccessfully, to kill himself. Lulu and Merry are effectively orphaned by their mother's death and father's imprisonment. The girls' relatives refuse to care for them and abandon them to a terrifying group home. Even as they plot to be taken in by a well-to-do family, they come to learn they'll never really belong anywhere or to anyone—that all they have to hold onto is each other. For thirty years, the sisters try to make sense of what happened. Their imprisoned father is a specter in both their lives, shadowing every choice they make. One spends her life pretending he's dead, while the other feels compelled--by fear, by duty--to keep him close. Both dread the day his attempts to win parole may meet with success. A beautifully written, compulsively readable debut, Randy Susan Meyers's The Murderer's Daughters is a testament to the power of family and the ties that bind us together and tear us apart.