"Seconds passed; minutes. She could hear movement now in the waiting room she had just left...it was the metal magazine rack she was sure, that crashed to the tile floor. Then quiet. She strained to hear in the darkness. Nothing more, and then... The air moved in the room and she knew. He was here." As a young psychology student, Hailey Dean's world explodes when Will, her fianc, is murdered just weeks before their wedding. Reeling, she fights back the only way she knows how: In court, prosecuting violent crime . . . putting away the bad guys one rapist, doper, and killer at a time. But dedicating her life to justice takes a toll after years of courtroom battles and the endless tide of victims calling out from crime scene photos and autopsy tables. Just as she grows truly weary, a serial killer unlike any other she's encountered begins to stalk the city of Atlanta, targeting young prostitutes, each horrific murder bearing his own unique mark. This courtroom battle will be her last. Hailey heads for Manhattan to pick up the pieces of the life she had before Will's murder, training as a therapist. In a vibrant new world, she finally leaves her ghosts behind. But then her own clients are brutally murdered one by one by a copycat using the same M.O. as the Atlanta killer she hunted down years before. As the body count rises across Manhattan, Hailey is forced to match wits not only against a killer, but the famed NYPD. Unless she returns to her former life and solves the case, still more innocent people will die at the hands of a killer who plans to get her, before she can get him!

The shocking true story of a bizarre kidnapping and the victims' re-victimization by the justice system. In March 2015, Denise Huskins and her boyfriend Aaron Quinn awoke from a sound sleep into a nightmare. Armed men bound and drugged them, then abducted Denise. Warned not to call the police or Denise would be killed. Aaron agonized about what to do. Finally he put his trust in law enforcement and dialed 911. But instead of searching for Denise, the police accused Aaron of her murder. His story, they told him, was just unbelievable. When Denise was released alive, the police turned their fire on her, dubbing her the “real-life ‘Gone Girl’” who had faked her own kidnapping. In Victim F, Aaron and Denise recount the horrific ordeal that almost cost them everything. Like too many victims of sexual violence, they were dismissed, disbelieved, and dragged through the mud. With no one to rely on except each other, they took on the victim blaming, harassment, misogyny, and abuse of power running rife in the criminal justice system. Their story is, in the end, a love story, but one that sheds necessary light on sexual assault and the abuse by law enforcement that all too frequently compounds crime victims’ suffering.

It's sweltering summer in New York City, and Asa Leventhal is alone. His co-workers ignore or condescend to him, his wife is away with her mother, and his estranged brother has run off, abandoning his wife and two sons. One night, Leventhal is confronted by a stranger--'one of those guys who want you to think they can see to the bottom of your soul'--who reveals himself to be a marginal figure from his distant past. Leventhal, accused of ruining the man's life, becomes shocked and dismissive, vehemently denying any part in the man's unhappy lot. But as time passes, he is increasingly unable to separate his own good fortune from the bad luck of this down-and-out stranger, who will not leave him be. A brief, haunting rumination on the vagaries of fate and responsibility, The Victim is, in the words of Norman Rush, Saul Bellow's "purest creation."

Julie Patterson is a former Miss Mississippi with a successful husband, two wonderful children, and the lavish life that many can only dream about. Her life becomes even better when her husband receives a long-awaited promotion and the family moves to a neighborhood near Washington DC. Julie quickly makes friends with neighbors, except for the woman who lives behind her, who simply stares without acknowledgment of Julie. After a while, though, the woman, Lynn, warms up to Julie, and the two form a fast friendship. But this friendship quickly turns strange as Julie learns of Lynn's propensity to lie for attention. She and her family also notice that Lynn has gotten the same car as Julie, has begun to dress like Julie, is getting a pool just like Julie, and is consistently attempting to one-up Julie. At first everyone brushes it off, but when one lie threatens Julie's family, she begins to realize Lynn has some unknown agenda, and Julie is her target. No one else takes it seriously, and many neighbors side with Lynn, even as the situation begins to spiral out of control, until one is found on the stand for attempted murder. Is Lynn a False Victim, or could Julie be guilty? Is there an end to the madness? Will the story end happily? You'll be on the edge of your seat as you await the answers in this gripping, psychological thriller based on a true story.

Victims of the Book uncovers a long-neglected but once widespread subgenre: the fin-de-siècle novel of formation in France. In the final decades of the nineteenth century, social commentators insistently characterized excessive reading as an emasculating illness that afflicted French youth. Novels about and geared toward adolescent male readers were imbued with a deep worry over young Frenchmen’s masculinity, as evidenced by titles like Crise de jeunesse (Youth in Crisis, 1897), La Crise virile (Crisis of Virility, 1898), La Vie stérile (A Sterile Life, 1892), and La Mortelle Impuissance (Deadly Impotence, 1903). In this book, François Proulx examines a wide panorama of these novels, as well as polemical essays, pedagogical articles, and medical treatises on the perceived threats posed by young Frenchmen’s reading habits. Fin-de-siècle writers responded to this pathologization of reading with a profusion of novels addressed to young male readers, paradoxically proposing their own novels as potential cures. In the early twentieth century, this corpus was critically revisited by a new generation of writers. Victims of the Book shows how André Gide and Marcel Proust in particular reworked the fin-de-siècle paradox to subvert cultural norms about literature and masculinity, proposing instead a queer pact between writer and reader.

In a barren field in the fictional town of Monkhole, Herbert stands watch over the cows-his sole form of amusement-daydreaming of his mother, who has disappeared with a UFO cult, the Overcomers. Meanwhile, his friend Howard works obsessively on a tome about victimology. It may be up to their friend Ruphis to unravel the mystery of the Overcomers, Herbert's battle against gravity, Howard's against the great white wall and the nature of those mysterious lights hovering in the clouds... Travis Jeppesen's debut novel, first published in 2003, set literary culture off balance by giving voice to the demented lifestyle of cultists. Victims returns to reanimate these spectral figures, and the forces and forms hidden in their shadows. "Victims holds a remarkably confident and able line through complicated waters... brilliant." -Tom McCarthy "An artfully fractured vision of memory and escape..." -Village Voice "Jeppesen's novel has the potential to change your life." -Bookslut