Captain Malik and the crew of the Vihaan II escape from their tyrannical government - and chart a course straight to the first living god they can find! But the only thing more dangerous than what lies ahead of them...is who follows behind them.

Captain Malik and the crew of his spaceship are in search of the only resources that matter – and can only be found by harvesting the giant corpses of alien gods that are found on the edge of human space..and now they see an opportunity to finally break free from this system: by being the first to find a living god. THE GODS ARE ALWAYS BEAUTIFUL... ...AND THE GODS ARE ALWAYS DEAD. Captain Malik and the crew of the spaceship the Vihaan II are in search of the only resources that matter – and can only be found by harvesting the giant corpses of alien gods that are found on the edge of human space. While other autopsy ships and explorers race to salvage the meat, minerals, and metals that sustain the human race, Malik sees an opportunity to finally break free from this system: by being the first to find a living god. But Malik’s obsession with the gods will push his crew into the darkest reaches of space, bringing them face to face with a threat unlike anything they ever imagined, unless the rogue agent on their trail can stop them first... Superstars Al Ewing (Immortal Hulk) and Simone Di Meo (Mighty Morphin Power Rangers) present a new sci-fi epic about the search for meaning and the hard choices we make to find it, no matter the cost to the world – or universe – around us. Collects We Only Find Them When They’re Dead #1-5.

Destiny has come for the endeavors of the Vihaan II. Malik and Richter face off for the last time and only one will survive. Their uncertain futures will be forever changed by a shattering discovery.

Thrills and chills descend on the town of Nightshade during Halloween in this fourth book in the series, following Dead Is So Last Year. As the creepy little town of Nightshade prepares to celebrate its 200th anniversary—on Halloween, of course—many of its paranormal residents are receiving mysterious blackmail letters. Psychic teen Daisy Giordano and her sisters set out to find out who is behind the threats. But launching an investigation isn’t easy for Daisy with her overprotective father watching her every move. Though she’s is happy to have him back after the years he spent being held captive by an anti-paranormal group called the Scourge, Dad is having a difficult time adjusting to home life—and the fact that his little girl is now a senior in high school. He even disapproves of Daisy’s boyfriend, Ryan. Can their relationship take the strain? And Daisy’s got even more on her plate: A talented amateur chef, she has won cooking lessons with celebrity chef Circe Silvertongue. After nosing around (with a little help from Circe’s pet pig), Daisy begins to suspect the temperamental chef’s secrets aren’t only in her ingredients . . . Praise for the Dead Is series “[Perez] delivers a wise-cracking, boy-lusting, determined sleuth of a high school protagonist . . . this quick, lighter-than-air spoof of the undead, cheerleaders and popularity is pure pleasure.”—Publishers Weekly “A fun ride from start to finish. Perez’s smart and sassy style soars.”—Mary E. Pearson, author of the Remnant Chronicles “[A] quick, lively romp . . . Teens looking for a breezy read will find plenty to like here.”—Booklist

Whose truth is the lie? Stay up all night reading the sensational psychological thriller that has readers obsessed, from the #1 New York Times bestselling author of Too Late and It Ends With Us. #1 New York Times Bestseller · USA Today Bestseller · Globe and Mail Bestseller · Publishers Weekly Bestseller Lowen Ashleigh is a struggling writer on the brink of financial ruin when she accepts the job offer of a lifetime. Jeremy Crawford, husband of bestselling author Verity Crawford, has hired Lowen to complete the remaining books in a successful series his injured wife is unable to finish. Lowen arrives at the Crawford home, ready to sort through years of Verity’s notes and outlines, hoping to find enough material to get her started. What Lowen doesn’t expect to uncover in the chaotic office is an unfinished autobiography Verity never intended for anyone to read. Page after page of bone-chilling admissions, including Verity's recollection of the night her family was forever altered. Lowen decides to keep the manuscript hidden from Jeremy, knowing its contents could devastate the already grieving father. But as Lowen’s feelings for Jeremy begin to intensify, she recognizes all the ways she could benefit if he were to read his wife’s words. After all, no matter how devoted Jeremy is to his injured wife, a truth this horrifying would make it impossible for him to continue loving her.

THE FINAL NOVEL IN THE #1 NEW YORK TIMES BESTSELLING SOOKIE STACKHOUSE SERIES—the inspiration for the HBO® original series True Blood. When a shocking murder rocks the small town of Bon Temps, Louisiana, psychic cocktail waitress Sookie Stackhouse learns that she has more than one enemy waiting to get vengeance for the past. Beacuse nothing is ever clear-cut in Bon Temps. What passes for truth is only a convenient lie. What passes for justice is more spilled blood. And what passes for love is never enough...

The Story of the Lost Child is the long-awaited fourth volume in the Neapolitan novels (My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay). The quartet traces the friendship between Elena and Lila, from their childhood in a poor neighbourhood in Naples, to their thirties, when both women are mothers but each has chosen a different path. Their lives are still inextricably linked, for better or worse, especially when it comes to the drama of a lost child. Elena Ferrante was born in Naples. She is the author of seven novels: The Days of Abandonment, Troubling Love, The Lost Daughter, and the quartet of Neapolitan novels: My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay, and The Story of the Lost Child. Frantugmalia, a selection of interviews, letters and occasional writings by Ferrante, will be published in 2016. She is one of Italy’s most acclaimed authors. Ann Goldstein has translated all of Elena Ferrante’s work. She is an editor at the New Yorker and a recipient of the PEN Renato Poggioli Translation Prize. Praise for Ferrante and the Neapolitan novels ‘[Ferrante’s] charting of the rivalries and sheer inscrutability of female friendship is raw. This is high stakes, subversive literature.’ Sunday Telegraph ‘Ferrante is an expert above all at the rhythm of plotting...Whether it’s work, family, friends or sex–and Ferrante, perhaps thanks to her anonymity as an author, is blisteringly good on bad sex–our greatest mistakes in life aren’t isolated acts; we rehearse them over and over until we get them as badly wrong as we can.’ Independent ‘Great novels are intelligent far beyond the powers of any character or writer or individual reader, as are great friendships, in their way. These wonderful books sit at the heart of that mystery, with the warmth and power of both.’ Harper’s ‘Elena Ferrante is one of the great novelists of our time. Her voice is passionate, her view sweeping and her gaze basilisk...In these bold, gorgeous, relentless novels, Ferrante traces the deep connections between the political and the domestic. This is a new version of the way we live now—one we need, one told brilliantly, by a woman.’ New York Times Sunday Book Review ‘When I read [the Neapolitan novels] I find that I never want to stop. I feel vexed by the obstacles—my job, or acquaintances on the subway—that threaten to keep me apart from the books. I mourn separations (a year until the next one—how?). I am propelled by a ravenous will to keep going.’ New Yorker ‘The best thing I’ve read this year, far and away...She puts most other writing at the moment in the shade. She’s marvellous.’ Richard Flanagan ‘The Neapolitan series stands as a testament to the ability of great literature to challenge, flummox, enrage and excite as it entertains.’ Sydney Morning Herald ‘The depth of perception Ms. Ferrante shows about her character’s conflicts and psychological states is astonishing...Her novels ring so true and are written with such empathy that they sound confessional.’ Wall Street Journal ‘The older you get, the harder it is to recapture the intoxicating sense of discovery that comes when you first read George Eliot, Nabokov, Tolstoy or Colette. But this year it came again when I read Elena Ferrante’s remarkable Neapolitan novels.’ Jane Shilling, New Statesman ‘There is nothing remotely tiring or trying about the experience of reading the Neapolitan novels, which I, and a great many others, now rank among our greatest book-related pleasures...it is writing that holds honesty dear.’ Weekend Australian ‘Dickens gave working people a voice. Ferrante, whoever she might be, presents a new paradigm for being female in the world...Ferrante’s great literary creations, Lenu and Lila, have the same emotional weight as Anne in Persuasion, Jo in Little Women, Maggie in The Mill on the Floss, Jane in Jane Eyre.’ Helen Elliott in the Monthly ‘This stunning conclusion further solidifies the Neapolitan novels as Ferrante’s masterpiece and guarantees that this reclusive author will remain far from obscure for years to come.’ Publishers Weekly ‘The Neapolitan novels are smart, thoughtful, serious literature. At the same time, they are violent, suspenseful soap operas populated with a vivid cast of scheming characters...Ferrante’s novels are deeply personal and intimate, getting to the very heart of what it means to be a woman, a friend, a daughter, a mother.’ Debrief Daily ‘Shattering and enthralling, intimate and vicious...The Neapolitan Novels are the kind of books that swallow me whole. As soon as I pick one up, I don’t want to breathe or move lest I break the spell...The Neapolitan Novels are among the most important in my reading life. I can’t recommend them highly enough.’ Readings ‘Ferrante captures the complexities of women, friendship and motherhood in ways that make your heart soar and ache in equal measures. If you haven’t already, treat yourself to this series.’ ELLE Australia ‘[Ferrante’s] Neapolitan novels contain real life – recognisable anxiety, joy, love and heartbreak. This is an incredibly difficult feat to achieve in the first place, let alone sustain, over four books. We will be talking about Elena and Lila for years to come.’ Sydney Morning Herald ‘There's a bright, sinewy humanness to Ferrante’s writing that is so alive it's alarming...The Story of the Lost Child is a full emotional experience, and a fitting end to a huge, arresting series.’ New Zealand Listener ‘I was one of the many who wept and wondered over Elena Ferrante’s The Story of the Lost Child. I plan to re-read the entire series soon.’ Favourite Feminist Reads from 2016, Feminist Writers Festival