When Cylin Busby was nine years old, she was obsessed with Izod clothing, the Muppets, and a box turtle she kept in a shoebox. Then everything changed overnight. Her police officer father, John, was driving to his shift when someone leveled a shotgun at his window. The blasts that followed left John's jaw on the passenger seat of his car-literally. While clinging to life, he managed to write down the name of the only person he thought could have pulled the trigger. The suspect? A local ex-con with rumored mob connections. The motive? Officer Busby was scheduled to testify against the suspect's family in an upcoming trial. Overnight, the Busbys went from being the "family next door" to one under 24-hour armed guard, with police escorts to school, and no contact with friends. Worse, the shooter was still on the loose, and it seemed only a matter of time before he'd come after John-or someone else in the family-again. With few choices left to them, the Busby family went into hiding, severing all ties to the only life they had known.

New York Times Bestseller: A judge’s daughter is abducted in this gritty thriller from an author who “sets new standards for suspense” (Lisa Gardner). Despite all her years determining the fates of families, judge Hope Willis couldn’t save her own. Her daughter taken, she’s frantically grasping at any hope for Krissy’s return. Desperate, Hope calls upon an unconventional team of experts for help. Casey and her team at Forensic Instincts, LLC will dig through each tiny clue, working around the clock. But time is running out, and they know that the difference between getting Krissy back and losing her forever could be as small as a suspect’s rapid breathing, or as deep as Hope’s dark family history . . . “Smooth prose and engaging characters.” —Publishers Weekly “Kane succeeds once again.” —Booklist “A skilled writer.” —Milwaukee Journal Sentinel “Fascinating . . . sharply drawn characters, fast-paced dialogue, dark and dangerous minds.” —RT Book Reviews

When a twelve-year-old girl goes missing, a suburban family’s perfect life reveals its dark secrets in this tense psychological thriller. Life can change in an instant. For Ryan and Karen Lane, it happens on the morning they discover their twelve-year-old daughter’s window open, their beloved Maddie missing from her bed. Police investigate. Suspicions swirl. The Lane family is thrown into turmoil. Then detectives turn their sights on them. No one is ruled out. Not Karen, with her tragic past, who argued with her daughter. Not Ryan, with his violent streak. Not Maddie’s thirteen-year-old brother, Tyler, who heard voices in her room the night she vanished. As time goes by and no answers emerge, the Lanes fear that Maddie is gone forever. But when a stunning revelation shocks everyone, the family plunges deep into a world of buried secrets whose revelations threaten the very foundation of their lives.

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

Love, death, culture clash, escape... set in North Africa, Daughter Disappeared is a story of family survival for anyone who loves a hard-hitting 'women in jeopardy' thriller.

The author of Straw Men continues his Memory Series with “a terrific read for lovers of political suspense” (Rebecca Forster, USA Today–bestselling author). Two men stand out in a crowd overlooking the Ohio River. A plane is being removed from the water where it crashed decades before. Both men helped put it there. Jim Christensen’s adopted daughter, Melissa, has been troubled of late. She has dreams that feel like memories, unsettling images percolate to the surface. She remembers a terrifying past, possibly her own, from a time before she was adopted. Christensen’s work as an expert in memory makes him the ideal person to help unlock his daughter’s fragile grasp on her own history. But will he want to learn the truth of where Melissa came from? Who she was before? Who might still be looking for her? This dizzying novel of suspense takes the reader back into a dirty war and its human costs, into the fevered mind of one of its survivors, and through the crosshairs of a man desperate to keep his own history vanished. Praise for the Memory Series novels “The creepiest good time I’ve had in ages—a genuine page-turner!” —Laura Lippman, New York Times bestselling author on Straw Men “[Time Release] is a spellbindingly accomplished first novel.” —James Ellroy, national bestselling author of L.A. Confidential

A New York Review Books Original Separated from her mother—the famed author of Suite Française—during World War II, Irène Némirovsky’s daughter offers a “nuanced, eloquent portrait of a complicated woman” in a series of memoirs that reimagine her mother’s life (The Washington Post) Élisabeth Gille was only five when the Gestapo arrested her mother, and she grew up remembering next to nothing of her. Her mother was a figure, a name, Irène Némirovsky, a once popular novelist, a Russian émigré from an immensely rich family, a Jew who didn’t consider herself one and who even contributed to collaborationist periodicals, and a woman who died in Auschwitz because she was a Jew. To her daughter she was a tragic enigma and a stranger. It was to come to terms with that stranger that Gille wrote, in The Mirador, her mother’s memoirs. The first part of the book, dated 1929, the year David Golder made Némirovsky famous, takes us back to her difficult childhood in Kiev and St. Petersburg. Her father is doting, her mother a beautiful monster, while Irene herself is bookish and self-absorbed. There are pogroms and riots, parties and excursions, then revolution, from which the family flees to France, a country of “moderation, freedom, and generosity,” where at last she is happy. Some thirteen years later Irène picks up her pen again. Everything has changed. Abandoned by friends and colleagues, she lives in the countryside and waits for the knock on the door. Written a decade before the publication of Suite Française made Irène Némirovsky famous once more (something Gille did not live to see), The Mirador is a haunted and a haunting book, an unflinching reckoning with the tragic past, and a triumph not only of the imagination but of love.