Welcome to North Falls—a small town where everyone knows everyone. Or so they think. Until the night of the fireworks. When two teenage girls vanish, and the town ignites. For Officer Emmy Clifton, it’s personal. She turned away when her best friend's daughter needed help—and now she must bring her home. But as Emmy combs through the puzzle the girls left behind, she realizes she never really knew them. Nobody did. Every teenage girl has secrets. But who would kill for them? And what else is the town hiding?

It is the story of four seekers who arrive at a notoriously unfriendly pile called Hill House: Dr. Montague, an occult scholar looking for solid evidence of a "haunting"; Theodora, the lighthearted assistant; Eleanor, a friendless, fragile young woman well acquainted with poltergeists; and Luke, the future heir of Hill House. At first, their stay seems destined to be merely a spooky encounter with inexplicable phenomena. But Hill House is gathering its powers—and soon it will choose one of them to make its own.

From the devious author of Mrs. March comes a gruesome and gleeful new novel that probes the psyche of a bloodthirsty governess. Winifred Notty arrives at Ensor House prepared to play the perfect Victorian governess—she’ll dutifully tutor her charges, Drusilla and Andrew, tell them bedtime stories, and only joke about eating children. But the longer Winifred spends within the estate’s dreary confines, and the more she learns of the perversions and pathetic preoccupations of the Pounds family, the more trouble she has sticking to her plan. Whether creeping across the moonlit lawns in her undergarments or gently tormenting the house staff, Winifred struggles at every turn to stifle the horrid compulsions of her past. When her chillingly dark imagination breaches the feeble boundary of reality on Christmas morning, Winifred is finally ready to deliver on her generous gifts. Wielding her signature sardonic wit and a penchant for the gorgeously macabre, Virginia Feito returns with a vengeance in Victorian Psycho.

Dynamic poems that celebrate the Black vernacular and engage with the world through the lens of Hip Hop as well as America's vast reserve of racial and gendered epithets--from an award-winning author and poet. fin-na /ˈfinə/ contraction: (1) going to; intending to. rooted in African American Vernacular English. (2) eye dialect spelling of "fixing to." (3) Black possibility; Black futurity; Blackness as tomorrow. A lyrical and sharp celebration, these poems consider the brevity and disposability of Black lives and other oppressed people in our current era of emboldened white supremacy. In three key parts, Finna explores the mythos and erasure of names in the American narrative; asks how gendered language can provoke violence; and finally, through the celebration and examination of the Black vernacular, expands the notions of possibility, giving us a new language of hope.

A small town hides a big secret… Who killed Emily Vaughn? Prom Night. Longbill Beach, 1982. Emily Vaughn dresses carefully for what's supposed to be the highlight of any high school career. But Emily has a secret. And by the end of the night, because of that secret, she will be dead. Nearly forty years later, Andrea Oliver, newly qualified as a US Marshal, receives her first assignment: to go to Longbill Beach to protect a judge receiving death threats. But Andrea's real focus isn't the judge – it's Emily Vaughn. Ever since she first heard Emily's name a year ago, she's been haunted by her brutal death. Nobody was ever convicted – her friends closed ranks, her family shut themselves off in their grief, the town moved on – so the killer is still out there. But now Andrea has a chance to find out what really happened…

The critically acclaimed and New York Times bestselling master of suspense delivers her first stand-alone novel, a thrilling tale of crime and struggle set in Atlanta in the mid-1970s.Atlanta, 1974. It's Kate Murphy's first day on the job, and the Atlanta Police Department is seething after the murder of an officer. Before the day has barely begun, she already suspects she's not cut out to be a cop. Her male uniform is too big, she can't handle a gun, and she's rapidly learning that the APD is hardly a place that welcomes women. Worse still, in the ensuing manhunt, she'll be partnered with Maggie Lawson, a cop with her own ax to grind (and a brother and uncle already on the force)--a strategy meant to isolate Kate and Maggie from the action. But the move will backfire, putting them right at the heart of it.Cop Town is an incredibly atmospheric nail-biter from the author the Huffington Post called an "exemplary storyteller" and "one of the great talents of the twenty-first century."

Sara Linton--resident medical examiner/pediatrician in Grant County, Georgia, --has plenty of hardship to deal with, including defending herself in a heartbreaking malpractice suit. So when her husband, Police chief Jeffery Tolliver, learns that his friend and coworker detective Lena Adams has been arrested for murder and needs Sara's help, she is not sure she can handle the pressure of it all. But soon Sara and Jeffery are sitting through evidence, peeling back the layers of a mystery that grows darker by the day--until an intricate web of betrayal and vengeance begins to unravel. And suddenly the lives of Sara, Lena, and Jeffery are hanging by the slenderest of threads.

Welcome to North Falls—a small town where everyone knows everyone. Or so they think. Until the night of the fireworks. When two teenage girls vanish, and the town ignites. For Officer Emmy Clifton, it’s personal. She turned away when her best friend's daughter needed help—and now she must bring her home. But as Emmy combs through the puzzle the girls left behind, she realizes she never really knew them. Nobody did. Every teenage girl has secrets. But who would kill for them? And what else is the town hiding?

Award-winning poet Danez Smith is a groundbreaking force, celebrated for deft lyrics, urgent subjects, and performative power. Don't Call Us Dead opens with a heartrending sequence that imagines an afterlife for black men shot by police, a place where suspicion, violence, and grief are forgotten and replaced with the safety, love, and longevity they deserved here on earth. Smith turns then to desire, mortality the dangers experienced in skin and body and blood and a diagnosis of HIV positive. "Some of us are killed / in pieces," Smith writes, some of us all at once. Don't Call Us Dead is an astonishing and ambitious collection, one that confronts, praises, and rebukes America--"Dear White America"--where every day is too often a funeral and not often enough a miracle.