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“A taut and haunting story that will stay with you long after you finish reading it.” —Jeff Lindsay, creator of the DEXTER series For Cleveland forensic investigator Maggie Gardiner, dead bodies are part of the job. It’s the mind of a killer that keeps her awake at night . . . When Maggie Gardiner notices a connection between the battered body of a young girl left in a cemetery and a career criminal shot in an alley, she must follow a trail no one else wants to see, picking up crumbs of evidence that no one else notices. Jack Renner is accustomed to being the hunter, not the hunted. He kills to make the world a safer place—even if that makes it a more dangerous one for Maggie. He will not let her stop him. One body at a time, Maggie circles in on a killer. But it’s what she find inside herself that will bring the terrible truth to light . . .
The “taut and haunting” first thriller in the Gardiner and Renner series from the New York Times bestselling author of Every Kind of Wicked (Jeff Lindsay, creator of the Dexter series). As a forensic investigator for the Cleveland Police Department, Maggie Gardiner has seen her share of Jane Does. The latest is an unidentified female in her early teens, discovered in a local cemetery. More shocking than the girl’s injuries—for Maggie at least—is the fact that no one has reported her missing. She and the detectives assigned to the case (including her cop ex-husband) are determined to follow every lead, run down every scrap of evidence. But the monster they seek is watching every move, closer to them than they could possibly imagine. Jack Renner is a killer. He doesn’t murder because he enjoys it, or because he believes himself omnipotent, or for any reason other than to make the world a safer place. When he follows the trail of this Jane Doe to a locked room in a small apartment where eighteen teenaged girls are anything but safe, he knows something must be done. But his pursuit of their captor takes an unexpected turn. Maggie Gardiner finds another body waiting for her in the autopsy room—and a host of questions that will challenge everything she believes about justice, morality, and the true nature of evil . . . “An absolute must read.”—Suspense Magazine “Black skillfully portrays the stark realities of homicide cases.”—Library Journal “Intriguing forensic details help drive the plot to its satisfying conclusion.”—Publishers Weekly “The surprising ending is sure to keep readers coming back for more.”—Booklist
The biography of Franz Stangl, commandant of the Treblinka extermination camp - a classic and utterly compelling study of evil Only four men commanded Nazi extermination (as opposed to concentration) camps. Franz Stangl was one of the. Gitta Sereny's investigation of this man's mind, and of the influences which shaped him, has become a classic. Stangl commanded Treblinka and was found guilty of co-responsibility for the slaughter there of at least 900, 000 people. Sereny, after weeks of talk with him and months of further research, shows us this man as he saw himself, and 'as he was seen by many others, including his wife. To horrify is not Sereny's aim, though horror is inevitable. She is seeking an answer to the question which beggars reason: How were human beings turned into instruments of such overwhelming evil? Gitta Sereny is of Hungarian-Austrian extraction and is trilingual in English, French and German. During the Second World War she became a social worker, caring for war-damaged children in France. She gave hundreds of lectures in schools and colleges in America and, when the war ended, she worked as a Child Welfare Officer in UNRRA displaced persons' camps in Germany. In 1949 she married the American Vogue photographer Don Honeyman and settled in London, where they brought up a son and a daughter and where she began her career as a journalist. Her journalistic work was of great variety but focussed particularly on the Third Reich and troubled children. She wrote mainly for the Daily Telegraph Magazine, the Sunday Times, The Times, the Independent and the Independent on Sunday Review. She also contributed to numerous newspapers and magazines around the world. Her books include: The Medallion, a novel; The Invisible Children, on child prostitution; Into That Darkness; and a biographical examination of Albert Speer. Gitta Sereny died in June 2012
A mysterious traveler intervenes in an epic holy war in this “impressive, challenging debut” of the critically acclaimed fantasy epic (Publishers Weekly, starred review). The first book in R. Scott Bakker's Prince of Nothing series introduces readers to a strikingly original and engrossingly vivid new world. With its language and classes of people, its cities, religions, mysteries, taboos, and rituals, The Darkness That Comes Before has drawn comparison to J.R.R. Tolkien’s The Lord of the Rings and Frank Herbert’s Dune. Bakker’s Eärwa is a world scarred by an apocalyptic past, evoking a time both two thousand years past and two thousand years into the future. As untold thousands gather for a crusade, two men and two women are ensnared by a mysterious traveler, Anasûrimbor Kellhus—part warrior, part philosopher, part sorcerous, charismatic presence—from lands long thought dead. The Darkness That Comes Before is a history of this great holy war, and like all histories, the survivors write its conclusion.
The vampires and werewolves chosen to be the Guardians of Eternity believe they’ve conquered their latest threat. But as one of them will learn in this mesmerizing installment from New York Times bestselling author Alexandra Ivy, old lovers make the most ruthless new enemies . . . Only one drastic mission can tempt Kyi away from the peaceful woodland where the dryads raised her: killing her mother. Xuria’s beauty masks a bone-deep evil that has enslaved fey for centuries with the help of a powerful stone. A hundred years ago, Kyi almost succeeded—until one meddlesome vampire destroyed her chance. With rumors that Xuria has emerged from her secret realm, Kyi’s determined to try again—despite the vampire who is now focused on destroying her. Locke has been waiting over a century to avenge what he believes was Xuria’s death. Discovering the sorceress’s raven-haired fey daughter was the assassin is a surprise—until her story of Xuria’s treachery begins to ring true. Working with Kyi is one solution—and the relentless heat simmering between them is a hint that they may be fated as mates. But even a destined love will have to wait as they now struggle to defeat Kyi’s twin sister, who has a chilling plan of her own . . .
Acclaimed Canadian poet Steven Price has conjured a stunning debut novel that explores what we ask from each other, and how much we are prepared to give. Set in the city of Victoria, British Columbia, Into That Darkness opens at the moment when a massive earthquake hits the entire west coast with devastating results. Amid the destruction of the city, survivors are left to negotiate a calamity in which bonds of civility are pushed to their limits and often broken. When Arthur Lear hears a voice crying in the rubble, he finds himself descending deep under a collapsed building in a desperate attempt to save a young boy and his mother. But what he discovers there will change him forever — as circumstances lead him across the city’s broken landscape, through the chaos of its hospitals and streets, in a harrowing search for the mother’s lost daughter. Over the days that follow, Lear’s very sense of humanness will be tested and compromised, as he faces the limits of himself and his fellow survivors, in his long journey home. A novel for our age of anxiety and fear, Steven Price delivers a powerful story about the physical manifestation of the darker things lurking in our culture, in ourselves.
Based on 70 hours of interviews with Franz Stangl, commandant of Treblinka (the largest of the five Nazi extermination camps), this book bares the soul of a man who continually found ways to rationalize his role in Hitler's final solution.
The story is told by Albert N. Wilmarth, an instructor of literature at Miskatonic University in Arkham. When local newspapers report strange things seen floating in rivers during a historic Vermont flood, Wilmarth becomes embroiled in a controversy about the reality and significance of the sightings, though he sides with the skeptics. Wilmarth uncovers old legends about monsters living in the uninhabited hills who abduct people who venture or settle too close to their territory.
Abducted as a teenager, a woman must now confront her past and untangle the truth of what really happened to her in this dark thriller from the author of The Wolf Wants In. ONE OF THE BEST BOOKS OF THE YEAR: St. Louis Post-Dispatch, Self • “Compulsively, propulsively readable.”—Laura Lippman, bestselling author of Lady in the Lake Seventeen-year-old Sarabeth has become increasingly rebellious since her parents found God and moved their family to a remote Arkansas farmstead where she’s forced to wear long dresses, follow strict rules, and grow her hair down to her waist. She’s all but given up on escaping the farm when a masked man appears one stifling summer morning and snatches her out of the cornfield. A week after her abduction, she’s found alongside a highway in a bloodstained dress—alive—but her family treats her like she’s tainted, and there’s little hope of finding her captor, who kept Sarabeth blindfolded in the dark the entire time, never uttering a word. One good thing arises from the horrific ordeal: a chance to leave the Ozarks and start a new life. Five years later, Sarabeth is struggling to keep her past buried when investigator Nick Farrow calls. Convinced that her case is connected to the strikingly similar disappearance of another young girl, Farrow wants Sarabeth’s help, and he’ll do whatever it takes to get it, even if that means dragging her back to the last place she wants to go—the hills and hollers of home, to face her estranged family and all her deepest fears. In this riveting novel from Laura McHugh, blood ties and buried secrets draw a young woman back into the nightmare of her past to save a missing girl, unaware of what awaits her in the darkness.
This ambitious study explores how important darkness--artificial darkness--was, as an actual technology, in producing not just photographs but visual novelties and experiments in cinema in the nineteenth century. The study plays out against a backdrop of urban history, where most scholars have focused on the growth of artificial light and the electrification of cities. Elcott’s study challenges that approach. In considering zones of darkness, it ranges from the sites of production (darkrooms, studios) to those of reception (theaters/cinemas/arcades) that shaped modern media and perceptions. He argues that, in the nineteenth century, the avant-garde was often less interested in the filmed image than in everything surrounding it: the screen, the projected light, the darkness, the experience of disembodiment. He argues that darkness has a history separate from night, evil, or the color black, and has a specifically modern manifestation as a media technology. We are all aware of the "velvet light trap” in photography, but at the heart of this book are technologies of darkness crucial to cinema that were commonly known as "the black screen,” but have, over time, faded from the storied discourse.