Startling evidence gives Nancy a New Perspective on the fine art of murder.

STARTLING EVIDENCE GIVES NANCY A NEW PERSPECTIVE ON THE FINE ART OF MURDER. Nancy's spending Thanksgiving in Paris, the city of light, love.. .and mystery. Her neighbor is Ellen Mathieson, a professor whose study of painter Josephine Solo has suddenly taken a dark and disturbing turn. Ellen's research assistant is dead -- killed in an accident exactly like the one that took Solo's life six months before! Josephine Solo left a legacy of secrecy and scandal. . .even the possibility of a double life. But Nancy begins to suspect that some of the professor's students also have something to hide. Paris is full of powerful temptations -- forbidden romance, secret passions, financial greed -- any one of which could lead to a motive for murder.

Inside the investigations of the deadly crimes that have shocked our nation -- the Polly Klaas kidnapping, Susan Smith's drownings of her own children, the Oklahoma City bombing -- one woman is the investigative world's secret weapon. You've seen her work: it was her composite sketch that revealed the face of the Unabomber, her hand that put a profile on Oklahoma City's John Doe II, her "dead ringers" that led to resolutions of those and other cases. Now Jeanne Boylan, the gifted forensic artist, whose beauty and compassion make her one of the most fascinating crusaders in the war against crime, tells her own riveting and deeply personal story. In thousands of national cases, Jeanne Boylan has pieced together portraits of crime suspects from the pained and fragmented descriptions drawn out from crime victims and eyewitnesses; time after time, her uncannily accurate renderings have helped close the most baffling of cases. She has worked with investigators worldwide and the nation's top FBI task force commanders, but Boylan herself connects with victims and grieving families in a way law enforcement officers cannot: over weeks and months she immerses herself in their lives, shares their frustrations and hopes; from this bond of trust, lost memories inevitably resurface. Through her sketches, Boylan is able to arm police with telling details of a fugitive's face, as well as aspects of the case often overlooked during conventional investigations. It is that combination of empathy and artistry that has placed her squarely outside the box -- and inside the most shattering cases of our time. But her compassion -- and her compulsion for justice -- have come at a price. Jeanne Boylan knows about loss and heartache: with searing honesty she portrays the effects on her marriage and her personal life of this career that calls her, at all hours, to step behind the scenes, to join the highest-profile manhunts, to find the faces of the most violent criminals, and at the same time, to help pick up the pieces of lives devastated by shocking violence. And, in a moving disclosure, Jeanne Boylan reveals that she, too, knows firsthand the price of crime. For the first time, in Portraits of Guilt, the woman who has formed the faces of the nation's most wanted killers uses her talents to bring about the resolution of a surprisingly personal twenty-year-old case. This remarkable memoir includes Boylan's own never-before-published drawings of two attackers who remain at large.

This is the first study of guilt from a wide variety of perspectives: psychology, psychiatry, psychoanalysis, evolutionary psychology, anthropology, six major religions, four key moral philosophers, and the law. Katchadourian explores the ways in which guilt functions within individual lives and intimate relationships, looking at behaviors that typically induce guilt in both historical and modern contexts. He examines how the capacity for moral judgments develops within individuals and through evolutionary processes. He then turns to the socio-cultural aspects of guilt and addresses society's attempts to come to terms with guilt as culpability through the legal process. This personal work draws from, and integrates, material from extensive primary and secondary literature. Through the extensive use of literary and personal accounts, it provides an intimate picture of what it is like to experience this universal emotion. Written in clear and engaging prose, with a touch of humor, Guilt should appeal to a wide audience.

Spending the Thanksgiving holiday in Paris, Nancy meets professor Ellen Mathieson and finds her curiosity piqued by the death of the professor's research assistant, which mimics the murder of a painter six months earlier.

The first of a new mystery series - When journalist Alison Glasby gets the opportunity to work with Fleet Street legend Bill Davenport, she jumps at the chance. Four children were killed in Norfolk in 1969, murdered by Leonie Dellar, and Bill Davenport covered the case. When Glasby finds a photograph of one of her victims that Dellar had hidden, Davenport wants Glasby off the story now. What is it about the murders that he doesnt want her to know?

An exploration, both personal and deeply reported, of how we learn to eat in today’s toxic food culture. Food is supposed to sustain and nourish us. Eating well, any doctor will tell you, is the best way to take care of yourself. Feeding well, any human will tell you, is the most important job a mother has. But for too many of us, food now feels dangerous. We parse every bite we eat as good or bad, and judge our own worth accordingly. When her newborn daughter stopped eating after a medical crisis, Virginia Sole-Smith spent two years teaching her how to feel safe around food again — and in the process, realized just how many of us are struggling to do the same thing. The Eating Instinct visits kitchen tables around America to tell Sole-Smith’s own story, as well as the stories of women recovering from weight loss surgery, of people who eat only nine foods, of families with unlimited grocery budgets and those on food stamps. Every struggle is unique. But Sole-Smith shows how they’re also all products of our modern food culture. And they’re all asking the same questions: How did we learn to eat this way? Why is it so hard to feel good about food? And how can we make it better?