THE SERIAL KILLER ISN'T ON TRIAL. HE'S ON THE JURY ... **************** 'To your knowledge, is there anything that would preclude you from serving on this jury?' Murder wasn't the hard part. It was just the start of the game. Joshua Kane has been preparing for this moment his whole life. He's done it before. But this is the big one. This is the murder trial of the century. And Kane has killed to get the best seat in the house. But there's someone on his tail. Someone who suspects that the killer isn't the man on trial. Kane knows time is running out - he just needs to get to the conviction without being discovered. **************** THIRTEEN REASONS WHY ... YOU MUST READ THIS BOOK: 'An oh so clever hook for an oh so clever, gripping book. THIRTEEN is courtroom drama at its finest, blended with page-turning twists and characters you can't get enough of. Steve Cavanagh is the John Grisham for a new generation. Slick, thrilling and unique, THIRTEEN is my favourite read of the year.' Sarah Pinborough 'Outstanding - an intriguing premise, a tense, gripping build-up, and a spectacular climax. This guy is the real deal. Trust me.' Lee Child 'Smart and original. This is a belter of a book.' Clare Mackintosh 'Great hook. Great plot. Great book. Thirteen is a real page turner and one you won't want to put down.' Simon Kernick 'A brilliant, twisty, ingeniously constructed puzzle of a book. Steve Cavanagh pulls off an enviable premise with panache.' Ruth Ware 'I've been tracking Steve Cavanagh for a few years now and Thirteen is his best, a dead bang beast of a book that expertly combining his authority on the law with an absolutely great thrill ride. Books this ingenious don't come along very often.' Michael Connelly 'Quite simply deserves to be HUGE. If you read a thriller as good this year, it's only because you've read this one twice.' Mark Billingham 'Tore through this between dusk and dawn. Absolute 5-star cracker from Steve Cavanagh, who's gotta be among top legal thriller writers out there nowadays. A powerhouse of a book that's much more than its high-concept hook.' Craig Sisterson 'Wow! This book is friggin' awesome! Utterly immersive.' Emma Kavanagh 'Fantastically gripping? Guilty as charged!' Angela Clarke 'An absolute cracker.' Susi Holliday 'Guilty of thrills, twists, and expertly manipulating the reader.' Mason Cross 'An absolute rollercoaster of a read. Thrilling.' Cass Green

In 2001, John J. Lennon killed a man on a Brooklyn Street. Now he’s a journalist, working from behind bars, trying to make sense of it all. The Tragedy of True Crime is a first-person journalistic account of the lives of four men who have killed, written by a man who has killed. Lennon entered the New York prison system with a sentence of 28 years to life but after he stepped into a writing workshop at Attica Correctional Facility, his whole life changed. Reporting from the cell block and the prison yard, Lennon challenges our obsession with true crime by telling the full life stories of men now serving time for the lives they took. These men have completely different backgrounds — Robert Chambers, a preppy Manhattanite turned true crime celebrity; Milton E. Jones, a seventeen-year-old coaxed from burglary into something far darker; and Michael Shane Hale, a gay man caught in a crime of passion — and all are searching to find meaning and redemption behind bars. Lennon’s reporting is intertwined with his own story, from a young man seduced by the infamous gangster culture of New York City to a celebrated prison journalist. The same desire echoes throughout the lives of these four men: to become more than murderers. A first-of-its-kind book of immersive prison journalism, The Tragedy of True Crime poses fundamental questions about the stories we tell and who gets to tell them. What essential truth do we lose when we don’t consider all that comes before an act of unthinkable violence? And what happens to the convicted after the cell gate locks?

Piranesi’s house is no ordinary building: its rooms are infinite, its corridors endless, its walls are lined with thousands upon thousands of statues, each one different from all the others. Within the labyrinth of halls an ocean is imprisoned; waves thunder up staircases, rooms are flooded in an instant. But Piranesi is not afraid; he understands the tides as he understands the pattern of the labyrinth itself. He lives to explore the house. There is one other person in the house—a man called The Other, who visits Piranesi twice a week and asks for help with research into A Great and Secret Knowledge. But as Piranesi explores, evidence emerges of another person, and a terrible truth begins to unravel, revealing a world beyond the one Piranesi has always known.

Piranesi’s house is no ordinary building: its rooms are infinite, its corridors endless, its walls are lined with thousands upon thousands of statues, each one different from all the others. Within the labyrinth of halls an ocean is imprisoned; waves thunder up staircases, rooms are flooded in an instant. But Piranesi is not afraid; he understands the tides as he understands the pattern of the labyrinth itself. He lives to explore the house. There is one other person in the house—a man called The Other, who visits Piranesi twice a week and asks for help with research into A Great and Secret Knowledge. But as Piranesi explores, evidence emerges of another person, and a terrible truth begins to unravel, revealing a world beyond the one Piranesi has always known.

In 2001, John J. Lennon killed a man on a Brooklyn Street. Now he’s a journalist, working from behind bars, trying to make sense of it all. The Tragedy of True Crime is a first-person journalistic account of the lives of four men who have killed, written by a man who has killed. Lennon entered the New York prison system with a sentence of 28 years to life but after he stepped into a writing workshop at Attica Correctional Facility, his whole life changed. Reporting from the cell block and the prison yard, Lennon challenges our obsession with true crime by telling the full life stories of men now serving time for the lives they took. These men have completely different backgrounds — Robert Chambers, a preppy Manhattanite turned true crime celebrity; Milton E. Jones, a seventeen-year-old coaxed from burglary into something far darker; and Michael Shane Hale, a gay man caught in a crime of passion — and all are searching to find meaning and redemption behind bars. Lennon’s reporting is intertwined with his own story, from a young man seduced by the infamous gangster culture of New York City to a celebrated prison journalist. The same desire echoes throughout the lives of these four men: to become more than murderers. A first-of-its-kind book of immersive prison journalism, The Tragedy of True Crime poses fundamental questions about the stories we tell and who gets to tell them. What essential truth do we lose when we don’t consider all that comes before an act of unthinkable violence? And what happens to the convicted after the cell gate locks?

Tutti vorrebbero la vita di Anna e Tom. Un lavoro creativo senza troppi vincoli; un appartamento a Berlino luminoso e pieno di piante; una passione per il cibo e la politica progressista; una relazione aperta alla sperimentazione sessuale, alle serate che finiscono la mattina tardi. Una quotidianità limpida e seducente come una timeline di fotografie scattate con cura. Ma fuori campo cresce un’insoddisfazione profonda quanto difficile da mettere a fuoco. Il lavoro diventa ripetitivo. Gli amici tornano in patria. Il tentativo di impegno politico si spegne in uno slancio generico. Gli anni passano. E in quella vita così simile a un’immagine – perfetta nel colore e nella composizione, ma piatta, limitata – Anna e Tom si sentono in trappola, tormentati dal bisogno di trovare qualcosa di più vero. Ma esiste? Vincenzo Latronico torna alla narrativa con una storia lucida e amara di sogni e disillusioni, una parabola sulle nostre vite assediate dalle immagini dei social media e sulla ricerca di un’autenticità sempre più fragile e rara.

Tutti vorrebbero la vita di Anna e Tom. Un lavoro creativo senza troppi vincoli; un appartamento a Berlino luminoso e pieno di piante; una passione per il cibo e la politica progressista; una relazione aperta alla sperimentazione sessuale, alle serate che finiscono la mattina tardi. Una quotidianità limpida e seducente come una timeline di fotografie scattate con cura. Ma fuori campo cresce un’insoddisfazione profonda quanto difficile da mettere a fuoco. Il lavoro diventa ripetitivo. Gli amici tornano in patria. Il tentativo di impegno politico si spegne in uno slancio generico. Gli anni passano. E in quella vita così simile a un’immagine – perfetta nel colore e nella composizione, ma piatta, limitata – Anna e Tom si sentono in trappola, tormentati dal bisogno di trovare qualcosa di più vero. Ma esiste? Vincenzo Latronico torna alla narrativa con una storia lucida e amara di sogni e disillusioni, una parabola sulle nostre vite assediate dalle immagini dei social media e sulla ricerca di un’autenticità sempre più fragile e rara.

Fresh from a brief stay at a psych hospital, reporter Camille Preaker faces a troubling assignment: she must return to her tiny hometown to cover the unsolved murder of a preteen girl and the disappearance of another. For years, Camille has hardly spoken to her neurotic, hypochondriac mother or to the half-sister she barely knows: a beautiful thirteen-year-old with an eerie grip on the town. Now, installed in her old bedroom in her family's Victorian mansion, Camille finds herself identifying with the young victims—a bit too strongly. Dogged by her own demons, she must unravel the psychological puzzle of her own past if she wants to get the story—and survive this homecoming. Librarian's Note: this is an alternate cover edition - ISBN 10: 0307341550 (ISBN 13: 9780307341556)