The finale to A Good Girl's Guide to Murder series. By the end of this mystery series, you'll never think of good girls the same way again...
Pip is about to head to college, but she is still haunted by the way her last investigation ended. She’s used to online death threats in the wake of her viral true-crime podcast, but she can’t help noticing an anonymous person who keeps asking her: Who will look for you when you’re the one who disappears?
Soon the threats escalate and Pip realizes that someone is following her in real life. When she starts to find connections between her stalker and a local serial killer caught six years ago, she wonders if maybe the wrong man is behind bars.
Police refuse to act, so Pip has only one choice: find the suspect herself—or be the next victim. As the deadly game plays out, Pip discovers that everything in her small town is coming full circle... and if she doesn’t find the answers, this time she will be the one who disappears...
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.
A long-distance call from a Texas city on his birthday gives Benjamin Dill the news that his sister—it's her birthday, too, they were born exactly ten years apart—has died in a car bomb explosion. It's the chief of police calling—Felicity Dill worked for him; she was a homicide detective. Dill is there that night, the beginning of his dogged search for her killer. What he finds is no surprise to him, because Benjamin Dill is never surprised at what awful things people will do—but it's a real surprise to the reader. As Newsday said when the novel was first published, "One sure thing about Ross Thomas's novels: A reader won't get bored waiting for the action to start."
Dr. Chris Shepard, a busy young doctor in Natchez, Mississippi, has never seen his new patient Alex Morse before. But the attractive young woman with the scarred face has come to Dr. Shepards office on a mission to catch a killer. This New York Times bestseller is available in a tall Premium Edition.
A mother's worst nightmare - can her son be guilty of murder?
Sarah Newby, who left school at 15, and was living as a teenage single parent on an inner-city estate, has worked her way up to begin a career as a criminal barrister. But what should she do when her own son, Simon, is arrested and charged with a series of brutal rapes and murders?
Has Sarah, in her single-minded determination to create a career for herself, neglected her son so much that she no longer knows him? He has often lied to her in the past, so how can she trust him when he says he is innocent this time?
When she herself finds evidence of his guilt, how can she defend him?
'A top class British legal thriller which puts the author up there with his American counterparts, John Grisham, Scott Turow and Michael Connolly.' Tim Kevan, barrister.
'A brilliant British crime thriller that you really should read. Sarah Burns, Kindle Book Review.
'One of the ABSOLUTE BEST legal mystery books I've ever read.' Amazon reader review.
Winner of the B.R.A.G Medallion of Excellence, 2016.
Lucas Davenport and Virgil Flowers team up to crack an unsolvable case in this thrilling new novel by John Sandford.
Alex Sand was spending the evening at home playing basketball with his two young sons when all three were shot in cold blood. A wealthy federal judge, there’s no short list of people who could have a vendetta against Sands, but the gruesome murders, especially that of his children, turn their St. Paul community on its head. Sand was on the verge of a major donation to a local housing charity, Heart/Twin Cities, and with the money in limbo, eyes suddenly turn to his grieving widow, Margaret Cooper, to see what she might do with the money. Margaret, distraught over the death of her family, struggles to move forward, and can’t imagine how or why anyone would target her husband.
With public pressure mounting and both the local police force and FBI hitting dead end after dead end, Lucas Davenport and Virgil Flowers are called in to do what others could not: find answers. With each potential lead flawed, Davenport and Flowers are determined to chase every theory until they figure out who killed the Sands. But when they find themselves being stonewalled by the most unlikely of forces, the two wonder if perhaps each misdirection could lead them closer to the truth.
In Matt Scudder's mind, money, power, and position elevate nobody above morality and the law. Now the ex-cop and unlicensed p.i. has been hired to prove that socialite Richard Thurman orchestrated the brutal murder of his beautiful, pregnant wife. During Scudder's hard drinking years, he left a piece of his soul on every seedy corner of the Big Apple. But this case is more depraved and more potentially devastating than anything he experienced while floundering in the urban depths. Because this investigation is leading Scudder on a frightening grand tour of New York's sex-for-sale underworld -- where an innocent young life is simply a commodity to be bought and perverted ... and then destroyed.
The narrator of The Bottoms is Harry Collins, an old man obsessively reflecting on certain key experiences of his childhood. In 1933, the year that forms the centerpiece of the narrative, Harry is 11 years old and living with his mother, father, and younger sister on a farm outside of Marvel Creek, Texas, near the Sabine River bottoms. Harry's world changes forever when he discovers the corpse of a young black woman tied to a tree in the forest near his home. The woman, who is eventually identified as a local prostitute, has been murdered, molested, and sexually mutilated. She is also, as Harry will soon discover, the first in a series of similar corpses, all of them the victims of a new, unprecedented sort of monster: a traveling serial killer.
From his privileged position as the son of constable (and farmer and part-time barber) Jacob Collins, Harry watches as the distinctly amateur investigation unfolds. As more bodies -- not all of them "colored" -- surface, the mood of the local residents darkens. Racial tensions -- never far from the surface, even in the best of times -- gradually kindle. When circumstantial evidence implicates an ancient, innocent black man named Mose, the Ku Klux Klan mobilizes, initiating a chilling, graphically described lynching that will occupy a permanent place in Harry Collins's memories. With Mose dead and the threat to local white women presumably put to rest, the residents of Marvel Creek resume their normal lives, only to find that the actual killer remains at large and continues to threaten the safety and stability of the town.
Lansdale uses this protracted murder investigation to open up a window on an insular, poverty-stricken, racially divided community. With humor, precision, and great narrative economy, he evokes the society of Marvel Creek in all its alternating tawdriness and nobility, offering us a varied, absolutely convincing portrait of a world that has receded into history. At the same time, he offers us a richly detailed re-creation of the vibrant, dangerous physical landscapes that were part of that world and have since been buried under the concrete and cement of the industrialized juggernaut of the late 20th century. In Lansdale's hands, the gritty realities of Depression-era Texas are as authentic -- and memorable -- as anything in recent American fiction.
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