In Singing of the Dead, the next installment in Dana Stabenow's acclaimed crime series, Kate Shugak hires onto the staff of a political campaign to work security for a Native woman running for state senator. The candidate has been receiving anonymous threats, and Kate, who went to college with two of the staffers, is to become her shadow, watching the crowds at rallies and fundraisers. But just as she's getting started the campaign is rocked by the murder of their staff researcher, who, Kate discovers, was in possession of some damning information about the pasts of both candidates. In order to track the killer, Kate will have to delve into the past, in particular the grisly murder of a "good-time girl" during the Klondike Gold Rush in 1915. Little can she guess the impact a ninety-year-old unsolved case could have on a modern-day psychotic killer.

Singing for the Dead chronicles ethnic revival in Oaxaca, Mexico, where new forms of singing and writing in the local Mazatec indigenous language are producing powerful, transformative political effects. Paja Faudree argues for the inclusion of singing as a necessary component in the polarized debates about indigenous orality and literacy, and she considers how the coupling of literacy and song has allowed people from the region to create texts of enduring social resonance. She examines how local young people are learning to read and write in Mazatec as a result of the region's new Day of the Dead song contest. Faudree also studies how tourist interest in local psychedelic mushrooms has led to their commodification, producing both opportunities and challenges for songwriters and others who represent Mazatec culture. She situates these revival movements within the contexts of Mexico and Latin America, as well as the broad, hemisphere-wide movement to create indigenous literatures. Singing for the Dead provides a new way to think about the politics of ethnicity, the success of social movements, and the limits of national belonging.

This book engages with the question of how music expresses and responds to the profound existential disturbance that death and loss present to the living. Singing Death ranges across genres from medieval love song to twenty-first-century horror film music. Each chapter offers readers an encounter with music as a distinct way of speaking or responding to human mortality. The chapters cover a wide range of disciplines: musicology, ethnomusicology, literature, history, philosophy, film studies, psychology and psychoanalysis. The collection is accompanied by a website including some of the music associated with each of its chapters.

It is the run-up to Christmas when two seven-year-old boys are abducted from the streets of Glasgow. For DI Colin Anderson the case is especially disturbing, because the boys look so much like his own young son Peter. When a simple house fire turns into a full-scale murder investigation, and with cold and flu season having taken many officers off the street, the force is stretched to breaking point. DS Costello’s hunch is the crimes are connected, and a killer is ingeniously hiding his trail. As the squad continues to struggle working both cases, for DI Anderson the nightmare is about to get terrifyingly close to home.

OGreg Hunt has written a searing spiritual memoir. His personal transparency evinces the humility of one who has wrestled with God, indeed.ONMolly T. Marshall, president, Central Baptist Theological Seminary.

This is an Authors Guild/BIP title. Please use Authors Guild/BIP specs. Author's bio: Marc Talbert has written many books for young readers, several of them published in seven foreign countries. He lives with his wife and two daughters in Tesque, New Mexico. Description: Published in Japan, Great Britain, Spain, Norway, and Denmark, Dead Birds Singing has won numerous awards in the United States and abroad.

PULITZER PRIZE FINALIST • From one of our most heralded writers comes the “poetic, disturbing, yet very funny” (The Washington Post Book World) life-and-death adventures of three misfit teenagers in the American desert. Alice, Corvus, and Annabel, each a motherless child, are an unlikely circle of friends. One filled with convictions, another with loss, the third with a worldly pragmatism, they traverse an air-conditioned landscape eccentric with signs and portents—from the preservation of the living dead in a nursing home to the presentation of the dead as living in a wildlife museum—accompanied by restless, confounded adults. A father lusts after his handsome gardener even as he's haunted (literally) by his dead wife; a heartbroken dog runs afoul of an angry neighbor; a young stroke victim drifts westward, his luck running from worse to awful; a sickly musician for whom Alice develops an attraction is drawn instead toward darker imaginings and solutions; and an aging big-game hunter finds spiritual renewal through his infatuation with an eight-year-old—the formidable Emily Bliss Pickless. With nature thoroughly routed and the ambiguities of existence on full display, life and death continue in directions both invisible and apparent. Gloriously funny and wonderfully serious, The Quick and the Dead limns the vagaries of love, the thirst for meaning, and the peculiar paths by which all creatures are led to their destiny. A panorama of contemporary life and an endlessly surprising tour de force: penetrating and magical, ominous and comic, this is the most astonishing book yet in Joy Williams's illustrious career. Joy Williams belongs, James Salter has written, "in the company of Céline, Flannery O'Connor, and Margaret Atwood."