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Can you trust your father, when they say he killed your mother? . . . THE RICHARD & JUDY BESTSELLING AUTHOR OF THAT NIGHT 'Suspenseful and heartfelt, with a superb ending' CLAIRE DOUGLAS 'An intricately plotted, twisty page-turner. Wow' 5**** READER REVIEW 'Absolutely unputdownable' ERIN KELLY 'Gripping and full of surprises with heartbreaking twist' 5**** READER REVIEW ________ 17 years after being convicted of murder, Izzy's father is finally released from prison. She wants nothing to do with him - but he claims to be innocent. She's always believed he killed her mother, but now doubts are creeping in. Because if he's telling the truth, then someone else has been lying all this time . . . ________ 'Both grips and thrills. Her best yet!' Lucy Clarke 'This sharp, super-readable thriller stands out thanks to its taut plot and characters you really care about' Sun 'Haunting, compelling, and all too possibly true' Jane Corry 'Heart-pounding, emotionally enriching, thrilling' Holly Seddon 'Flawless plotting and gripping from the first page to the last' Jill Mansell
John Banville’s stunning powers of mimicry are brilliantly on display in this engrossing novel, the darkly compelling confession of an improbable murderer. Freddie Montgomery is a highly cultured man, a husband and father living the life of a dissolute exile on a Mediterranean island. When a debt comes due and his wife and child are held as collateral, he returns to Ireland to secure funds. That pursuit leads to murder. And here is his attempt to present evidence, not of his innocence, but of his life, of the events that lead to the murder he committed because he could. Like a hero out of Nabokov or Camus, Montgomery is a chillingly articulate, self-aware, and amoral being, whose humanity is painfully on display.
Charts the confluence through marriage of three families in a small Ohio town.
Creationists have acquired a more sophisticated intellectual arsenal. This book reveals the insubstantiality of their arguments. Creationism is no longer the simple notion it once was taken to be. Its new advocates have become more sophisticated in how they present their views, speaking of "intelligent design" rather than "creation science" and aiming their arguments against the naturalistic philosophical method that underlies science, proposing to replace it with a "theistic science." The creationism controversy is not just about the status of Darwinian evolution—it is a clash of religious and philosophical worldviews, for a common underlying fear among Creationists is that evolution undermines both the basis of morality as they understand it and the possibility of purpose in life. In Tower of Babel, philosopher Robert T. Pennock compares the views of the new creationists with those of the old and reveals the insubstantiality of their arguments. One of Pennock's major innovations is to turn from biological evolution to the less charged subject of linguistic evolution, which has strong theoretical parallels with biological evolution, both in content and in the sort of evidence scientists use to draw conclusions about origins. Of course, an evolutionary view of language does conflict with the Bible, which says that God created the variety of languages at one time as punishment for the Tower of Babel. Several chapters deal with the work of Phillip Johnson, a highly influential leader of the new Creationists. Against his and other views, Pennock explains how science uses naturalism and discusses the relationship between factual and moral issues in the creationism-evolution controversy. The book also includes a discussion of Darwin's own shift from creationist to evolutionist and an extended argument for keeping private religious beliefs separate from public scientific knowledge.
Over twenty-two months in 1979 and 1981 nearly two dozen children were unspeakably murdered in Atlanta despite national attention and outcry; they were all Black. James Baldwin investigated these murders, the Black administration in Atlanta, and Wayne Williams, the Black man tried for the crimes. Because there was only evidence to convict Williams for the murders of two men, the children's cases were closed, offering no justice to the families or the country. Baldwin's incisive analysis implicates the failures of integration as the guilt party, arguing, "There could be no more devastating proof of this assault than the slaughter of the children." As Stacey Abrams writes in her foreword, "The humanity of black children, of black men and women, of black lives, has ever been a conundrum for America. Forty years on, Baldwin's writing reminds us that we have never resolved the core query: Do black lives matter? Unequivocally, the moral answer is yes, but James Baldwin refuses such rhetorical comfort." In this, his last book, by excavating American race relations Baldwin exposes the hard-to-face ingrained issues and demands that we all reckon with them.
After the murder of a teenage girl, a mysterious man in a black leather jacket was seen lurking near the crime scene. Investigative reporter Tessa Novak has him in her sights as the culprit… That man was Julian Darcangelo, an undercover FBI agent working with the Denver police. He’s closing in on the trail of a human trafficker and killer. Tessa’s accusations could blow his cover, and he wants her off the investigation. But just as Tessa has made Julian a target of interest, she is now a target of the killer. And as they are forced to trust each other, their physical attraction escalates as intensely as the threat from a ruthless murderer who wants to see both of them dead…
"Everyone in Cooper's Bayou knows the story of Raylene Atchison, the local woman who was murdered on the banks of the bayou, and her daughter Aurora, who was found on the steps of the mini-mart, alone. But when Aurora, who was raised far away from Cooper's Bayou, returns to Florida to settle her grandfather's estate, she learns that the suspect in her mother's murder was wrongly accused"--