Lady Wainwright presides over the gothic gloom at Belting, in mourning for her two sons lost in the Second World War. Long afterwards a stranger arrives at Belting, claiming to be the missing David Wainwright – who was not killed after all, but held captive for years in a Russian prison camp. With Lady Wainwright’s health fading, her inheritance is at stake, and the family is torn apart by doubts over its mysterious long-lost son. Belting is shadowed by suspicion and intrigue – and then the first body is found. This atmospheric novel of family secrets, first published in 1964, is by a winner of the CWA Diamond Dagger.

On a dark November evening, Sir Wilfred Saxonby is travelling alone in the 5 o'clock train from Cannon Street, in a locked compartment. The train slows and stops inside a tunnel; and by the time it emerges again minutes later, Sir Wilfred has been shot dead, his heart pierced by a single bullet. Suicide seems to be the answer, even though no motive can be found. Inspector Arnold of Scotland Yard thinks again when learns that a mysterious red light in the tunnel caused the train to slow down. Finding himself stumped by the puzzle, Arnold consults his friend Desmond Merrion, a wealthy amateur expert in criminology. Merrion quickly comes up with an 'essential brainwave' and helps to establish how Sir Wilfred met his end, but although it seems that the dead man fell victim to a complex conspiracy, the investigators are puzzled about the conspirators' motives as well as their identities. Can there be a connection with Sir Wilfred's seemingly troubled family life, his highly successful business, or his high-handed and unforgiving personality? And what is the significance of the wallet found on the corpse, and the bank notes that it contained?

When four classmates from a small Massachusetts college move to New York to make their way, they're broke, adrift, and buoyed only by their friendship and ambition. There is kind, handsome Willem, an aspiring actor; JB, a quick-witted, sometimes cruel Brooklyn-born painter seeking entry to the art world; Malcolm, a frustrated architect at a prominent firm; and withdrawn, brilliant, enigmatic Jude, who serves as their center of gravity. Over the decades, their relationships deepen and darken, tinged by addiction, success, and pride. Yet their greatest challenge, each comes to realize, is Jude himself, by midlife a terrifyingly talented litigator yet an increasingly broken man, his mind and body scarred by an unspeakable childhood, and haunted by what he fears is a degree of trauma that he’ll not only be unable to overcome—but that will define his life forever.

An unforgettable true story about the potential for mercy to redeem us, and a clarion call to end mass incarceration in America — from one of the most inspiring lawyers of our time. Bryan Stevenson was a young lawyer when he founded the Equal Justice Initiative, a nonprofit law office in Montgomery, Alabama, dedicated to defending the poor, the incarcerated, and the wrongly condemned. Just Mercy tells the story of EJI, from the early days with a small staff facing the nation’s highest death sentencing and execution rates, through a successful campaign to challenge the cruel practice of sentencing children to die in prison, to revolutionary projects designed to confront Americans with our history of racial injustice. One of EJI’s first clients was Walter McMillian, a young Black man who was sentenced to die for the murder of a young white woman that he didn’t commit. The case exemplifies how the death penalty in America is a direct descendant of lynching — a system that treats the rich and guilty better than the poor and innocent.

The Brothers Karamazov is a murder mystery, a courtroom drama, and an exploration of erotic rivalry in a series of triangular love affairs involving the “wicked and sentimental” Fyodor Pavlovich Karamazov and his three sons―the impulsive and sensual Dmitri; the coldly rational Ivan; and the healthy, red-cheeked young novice Alyosha. Through the gripping events of their story, Dostoevsky portrays the whole of Russian life, is social and spiritual striving, in what was both the golden age and a tragic turning point in Russian culture. This award-winning translation by Richard Pevear and Larissa Volokhonsky remains true to the verbal inventiveness of Dostoevsky’s prose, preserving the multiple voices, the humor, and the surprising modernity of the original. It is an achievement worthy of Dostoevsky’s last and greatest novel.

Brilliant and engagingly written, Why Nations Fail answers the question that has stumped the experts for centuries: Why are some nations rich and others poor, divided by wealth and poverty, health and sickness, food and famine? Is it culture, the weather, geography? Perhaps ignorance of what the right policies are? Simply, no. None of these factors is either definitive or destiny. Otherwise, how to explain why Botswana has become one of the fastest growing countries in the world, while other African nations, such as Zimbabwe, the Congo, and Sierra Leone, are mired in poverty and violence? Daron Acemoglu and James Robinson conclusively show that it is man-made political and economic institutions that underlie economic success (or lack of it). Korea, to take just one of their fascinating examples, is a remarkably homogeneous nation, yet the people of North Korea are among the poorest on earth while their brothers and sisters in South Korea are among the richest. The south forged a society that created incentives, rewarded innovation, and allowed everyone to participate in economic opportunities. The economic success thus spurred was sustained because the government became accountable and responsive to citizens and the great mass of people. Sadly, the people of the north have endured decades of famine, political repression, and very different economic institutions—with no end in sight. The differences between the Koreas is due to the politics that created these completely different institutional trajectories. Based on fifteen years of original research Acemoglu and Robinson marshall extraordinary historical evidence from the Roman Empire, the Mayan city-states, medieval Venice, the Soviet Union, Latin America, England, Europe, the United States, and Africa to build a new theory of political economy with great relevance for the big questions of today, including:    - China has built an authoritarian growth machine. Will it continue to grow at such high speed and overwhelm the West?    - Are America’s best days behind it? Are we moving from a virtuous circle in which efforts by elites to aggrandize power are resisted to a vicious one that enriches and empowers a small minority?    - What is the most effective way to help move billions of people from the rut of poverty to prosperity? More philanthropy from the wealthy nations of the West? Or learning the hard-won lessons of Acemoglu and Robinson’s breakthrough ideas on the interplay between inclusive political and economic institutions? Why Nations Fail will change the way you look at—and understand—the world.

An unforgettable true story about the potential for mercy to redeem us, and a clarion call to end mass incarceration in America — from one of the most inspiring lawyers of our time. Bryan Stevenson was a young lawyer when he founded the Equal Justice Initiative, a nonprofit law office in Montgomery, Alabama, dedicated to defending the poor, the incarcerated, and the wrongly condemned. Just Mercy tells the story of EJI, from the early days with a small staff facing the nation’s highest death sentencing and execution rates, through a successful campaign to challenge the cruel practice of sentencing children to die in prison, to revolutionary projects designed to confront Americans with our history of racial injustice. One of EJI’s first clients was Walter McMillian, a young Black man who was sentenced to die for the murder of a young white woman that he didn’t commit. The case exemplifies how the death penalty in America is a direct descendant of lynching — a system that treats the rich and guilty better than the poor and innocent.

"The struggle from late youth on, with and without God, agony, narcotics and love is a torment rarely recorded with such sustained eloquence and passion as you will find in this collection." —Fanny Howe This highly-anticipated debut boldly confronts addiction and courses the strenuous path of recovery, beginning in the wilds of the mind. Poems confront craving, control, the constant battle of alcoholism and sobriety, and the questioning of the self and its instincts within the context of this never-ending fight. “In Calling a Wolf a Wolf, Kaveh Akbar exquisitely and tenaciously braids astonishment and atonement into a singular lyric voice. The desolation of alcoholism widens into hard-won insight: ‘the body is a mosque borrowed from Heaven.’ Doubt and fear spiral into grace and beauty. Akbar’s mind, like his language, is perpetually in motion. His imagery—wounded and resplendent—is masterful and his syntax ensnares and releases music that’s both delicate and muscular. Kaveh Akbar has crafted one of the best debuts in recent memory. In his hands, awe and redemption hinge into unforgettable and gorgeous poems.” —Eduardo C. Corral

"The struggle from late youth on, with and without God, agony, narcotics and love is a torment rarely recorded with such sustained eloquence and passion as you will find in this collection." —Fanny Howe This highly-anticipated debut boldly confronts addiction and courses the strenuous path of recovery, beginning in the wilds of the mind. Poems confront craving, control, the constant battle of alcoholism and sobriety, and the questioning of the self and its instincts within the context of this never-ending fight. “In Calling a Wolf a Wolf, Kaveh Akbar exquisitely and tenaciously braids astonishment and atonement into a singular lyric voice. The desolation of alcoholism widens into hard-won insight: ‘the body is a mosque borrowed from Heaven.’ Doubt and fear spiral into grace and beauty. Akbar’s mind, like his language, is perpetually in motion. His imagery—wounded and resplendent—is masterful and his syntax ensnares and releases music that’s both delicate and muscular. Kaveh Akbar has crafted one of the best debuts in recent memory. In his hands, awe and redemption hinge into unforgettable and gorgeous poems.” —Eduardo C. Corral

First, there were ten—a curious assortment of strangers summoned as weekend guests to a little private island off the coast of Devon. Their host, an eccentric millionaire unknown to all of them, is nowhere to be found. All that the guests have in common is a wicked past they're unwilling to reveal—and a secret that will seal their fate. For each has been marked for murder. A famous nursery rhyme is framed and hung in every room of the mansion: "Ten little boys went out to dine; One choked his little self and then there were nine. Nine little boys sat up very late; One overslept himself and then there were eight. Eight little boys traveling in Devon; One said he'd stay there then there were seven. Seven little boys chopping up sticks; One chopped himself in half and then there were six. Six little boys playing with a hive; A bumblebee stung one and then there were five. Five little boys going in for law; One got in Chancery and then there were four. Four little boys going out to sea; A red herring swallowed one and then there were three. Three little boys walking in the zoo; A big bear hugged one and then there were two. Two little boys sitting in the sun; One got frizzled up and then there was one. One little boy left all alone; He went out and hanged himself and then there were none." When they realize that murders are occurring as described in the rhyme, terror mounts. One by one they fall prey. Before the weekend is out, there will be none. Who has choreographed this dastardly scheme? And who will be left to tell the tale? Only the dead are above suspicion.

First, there were ten—a curious assortment of strangers summoned as weekend guests to a little private island off the coast of Devon. Their host, an eccentric millionaire unknown to all of them, is nowhere to be found. All that the guests have in common is a wicked past they're unwilling to reveal—and a secret that will seal their fate. For each has been marked for murder. A famous nursery rhyme is framed and hung in every room of the mansion: "Ten little boys went out to dine; One choked his little self and then there were nine. Nine little boys sat up very late; One overslept himself and then there were eight. Eight little boys traveling in Devon; One said he'd stay there then there were seven. Seven little boys chopping up sticks; One chopped himself in half and then there were six. Six little boys playing with a hive; A bumblebee stung one and then there were five. Five little boys going in for law; One got in Chancery and then there were four. Four little boys going out to sea; A red herring swallowed one and then there were three. Three little boys walking in the zoo; A big bear hugged one and then there were two. Two little boys sitting in the sun; One got frizzled up and then there was one. One little boy left all alone; He went out and hanged himself and then there were none." When they realize that murders are occurring as described in the rhyme, terror mounts. One by one they fall prey. Before the weekend is out, there will be none. Who has choreographed this dastardly scheme? And who will be left to tell the tale? Only the dead are above suspicion.

Twenty-five years after the publication of his groundbreaking first book, Malcolm Gladwell returns with a brand-new volume that reframes the lessons of The Tipping Point in a startling and revealing light. Why is Miami…Miami? What does the heartbreaking fate of the cheetah tell us about the way we raise our children? Why do Ivy League schools care so much about sports? What is the Magic Third, and what does it mean for racial harmony? In this provocative new work, Malcolm Gladwell returns for the first time in twenty-five years to the subject of social epidemics and tipping points, this time with the aim of explaining the dark side of contagious phenomena. Through a series of riveting stories, Gladwell traces the rise of a new and troubling form of social engineering. He takes us to the streets of Los Angeles to meet the world’s most successful bank robbers, rediscovers a forgotten television show from the 1970s that changed the world, visits the site of a historic experiment on a tiny cul-de-sac in northern California, and offers an alternate history of two of the biggest epidemics of our day: COVID and the opioid crisis. Revenge of the Tipping Point is Gladwell’s most personal book yet. With his characteristic mix of storytelling and social science, he offers a guide to making sense of the contagions of modern world. It’s time we took tipping points seriously.

Twenty-five years after the publication of his groundbreaking first book, Malcolm Gladwell returns with a brand-new volume that reframes the lessons of The Tipping Point in a startling and revealing light. Why is Miami…Miami? What does the heartbreaking fate of the cheetah tell us about the way we raise our children? Why do Ivy League schools care so much about sports? What is the Magic Third, and what does it mean for racial harmony? In this provocative new work, Malcolm Gladwell returns for the first time in twenty-five years to the subject of social epidemics and tipping points, this time with the aim of explaining the dark side of contagious phenomena. Through a series of riveting stories, Gladwell traces the rise of a new and troubling form of social engineering. He takes us to the streets of Los Angeles to meet the world’s most successful bank robbers, rediscovers a forgotten television show from the 1970s that changed the world, visits the site of a historic experiment on a tiny cul-de-sac in northern California, and offers an alternate history of two of the biggest epidemics of our day: COVID and the opioid crisis. Revenge of the Tipping Point is Gladwell’s most personal book yet. With his characteristic mix of storytelling and social science, he offers a guide to making sense of the contagions of modern world. It’s time we took tipping points seriously.

The Bell Jar chronicles the crack-up of Esther Greenwood: brilliant, beautiful, enormously talented, and successful, but slowly going under—maybe for the last time. Sylvia Plath masterfully draws the reader into Esther's breakdown with such intensity that Esther's insanity becomes completely real and even rational, as probable and accessible an experience as going to the movies. Such deep penetration into the dark and harrowing corners of the psyche is an extraordinary accomplishment and has made The Bell Jar a haunting American classic.

Toru, a quiet and preternaturally serious young college student in Tokyo, is devoted to Naoko, a beautiful and introspective young woman, but their mutual passion is marked by the tragic death of their best friend years before. Toru begins to adapt to campus life and the loneliness and isolation he faces there, but Naoko finds the pressures and responsibilities of life unbearable. As she retreats further into her own world, Toru finds himself reaching out to others and drawn to a fiercely independent and sexually liberated young woman. A magnificent blending of the music, the mood, and the ethos that was the sixties with the story of one college student's romantic coming of age, Norwegian Wood brilliantly recaptures a young man's first, hopeless, and heroic love.