Paul Stuart's 3 Exmoor novels are presented in one superb hardback collection. This is a limited edition of only 100 copies. Experience the magic of Exmoor and be prepared for huge surprises along the way. The plot races along and almost every page raises an eyebrow.

A taut and chillingly atmospheric debut that signals the arrival of a bright new voice in psychological suspense and "a brilliant analysis of an exceedingly twisted mind" (Chicago Tribune). Eighteen years ago, Billy Peters disappeared. Everyone in town believes Billy was murdered—after all, serial killer Arnold Avery later admitted killing six other children and burying them on the same desolate moor that surrounds their small English village. Only Billy’s mother is convinced he is alive. She still stands lonely guard at the front window of her home, waiting for her son to return, while her remaining family fragments around her. But her twelve-year-old grandson Steven is determined to heal the cracks that gape between his nan, his mother, his brother, and himself. Steven desperately wants to bring his family closure, and if that means personally finding his uncle’s corpse, he’ll do it. Spending his spare time digging holes all over the moor in the hope of turning up a body is a long shot, but at least it gives his life purpose. Then at school, when the lesson turns to letter writing, Steven has a flash of inspiration. Careful to hide his identity, he secretly pens a letter to Avery in jail asking for help in finding the body of "W.P."—William "Billy" Peters. So begins a dangerous cat-and-mouse game. Just as Steven tries to use Avery to pinpoint the gravesite, so Avery misdirects and teases his mysterious correspondent in order to relive his heinous crimes. And when Avery finally realizes that the letters he’s receiving are from a twelve-year-old boy, suddenly his life has purpose too. Although his is far more dangerous...

A spine-tingling, edge-of-your-seat thriller about an alarming killing spree in southwest England from the CWA Gold Dagger Award–winning author. The eight-year-old boy had vanished from the car and—as if by slick, sick magic—had been replaced by a note on the steering wheel: “You don’t love him.” At the height of summer a dark shadow falls across Exmoor, as children begin to disappear, with each disappearance marked only by a terse, accusatory note. There are no explanations, no ransom demands, and no hope. Policeman Jonas Holly (a character returning from Bauer’s first two novels) faces a precarious journey into the warped mind of the kidnapper if he’s to stand any chance of catching him. But—still reeling from a personal tragedy—is Jonas really up to the task? There are some who would say that, when it comes to being the first line of defense, Jonas Holly may be the last man to trust. “Finders Keepers has an enjoyably creepy premise . . . Bauer’s villain, incidentally, is one of the oddest in detective fiction: what he does with his victims is utterly weird.” —The Guardian

In bleak midwinter, the people of Shipcott are shocked by the murder of an elderly woman in her bed. As snow cuts off the village, local policeman Jonas Holly is torn between catching a brutal killer and protecting his vulnerable wife, Lucy. Soon Jonas is taunted by a series of increasingly sinister anonymous notes from someone who seems to know every move he makes.

Jonathan Starling's father is in an asylum and his home has been attacked when, while running away from kidnappers, he stumbles upon Darkside, a terrifying and hidden part of London ruled by the descendants of Jack the Ripper, where Jonathan is in mortal danger if he cannot find the way out.

Katy's birthday doesn't feel very special, until she discovers a tiny newborn foal on the moor. It walks right up to her with wobbly steps, and Katy is spellbound. As she reaches out and touches its forehead, Katy longs for the foal to be hers. But how will she ever persuade her family?

A Los Angeles Times Best Book of the Year: “Part social satire, part thriller, and entirely clever” (Elle). It is a midsummer’s evening in the English countryside, and the three grown Palmer children are coming to the end of an enjoyable meal in the company of their partners and offspring. From this pleasant vantage point they play a dinner-party game: What kind of society would you be willing to accept if you didn’t know your place in it? But the abstract question of justice, like all their family conversations, is eventually brought back to the more pressing problem of their eccentric mother, Frieda, the famous writer, who has abandoned them and her old life, and gone to live alone in Exmoor. Frieda has always been a powerful and puzzling figure, a monster mother with a mysterious past. What is she plotting against them now? Has some inconvenient form of political correctness led her to favor her enchanting half-Guyanese grandson? What will she do with her money? Is she really writing her memoirs? And why has she disappeared? Has the dark spirit of Exmoor finally driven her mad? The Witch of Exmoor brilliantly interweaves high comedy and personal tragedy, unraveling the story of a family whose comfortable, rational lives, both public and private, are about to be violently disrupted by a succession of sinister, messy events. “Leisurely and mischievous,” it is a dazzling, wickedly gothic tale of a British matriarch, her three grasping children, and the perils of self-absorption (The New Yorker). “As meticulous as Jane Austen, as deadly as Evelyn Waugh.” —Los Angeles Times