Crime Writers Association John Creasey Dagger Award winner An ECONOMIST TOP FICTION TITLE OF THE YEARA FINANCIAL TIMES BEST BOOK OF THE YEARA GUARDIAN BEST CRIME AND THRILLER OF THE YEARA KIRKUS REVIEWS BEST CRIME NOVEL OF THE YEAR"A soulful, humane, and sparklingly funny novel. Spend some time with Sheldon and company in the Scandinavian wilderness and you just might make peace with your god, your ghosts, and yourself." -- Gary Shteyngart, author of Super Sad True Love StorySheldon Horowitz--widowed, impatient, impertinent--has grudgingly agreed to leave New York and move in with his granddaughter, Rhea, and her new husband, Lars, in Norway--a country of blue and ice with one thousand Jews, not one of them a former Marine sniper in the Korean War turned watch repairman. Not until now, anyway.Home alone one morning, Sheldon witnesses a dispute between the woman who lives upstairs and an aggressive stranger. When events turn dire, Sheldon seizes and shields the neighbor's young son from the violence, and they flee the scene. As Sheldon and the boy look for a safe haven in an alien world, past and present weave together, forcing them ever forward to a wrenching moment of truth."This is one of the best books of the season, of any genre." -- Buffalo News"Miller joins the ranks of Stieg Larsson, Henning Mankell, and Jo Nesbø, the holy trinity of Scandinavian crime novelists." -- Booklist (starred review)AN INDIE NEXT SELECTION
Eric Moore has reason to be happy. He has a prosperous business, a comfortable home, a stable family life in a quiet town. Then, on an ordinary night, his teenage son Keith is asked to babysit Amy Giordano, the eight-year-old daughter of a neighboring family. The next morning Amy is missing.
Suddenly Eric is one of the stricken parents he has seen on television, professing faith in his child's innocence. As the police investigation increasingly focuses on Keith, Eric must counsel his son, find him a lawyer, protect him from the community's steadily growing suspicion. Except that Eric is not so sure his son is innocent. And if Keith is not . . . and might do the same thing again . . . what then should a father do?
Red Leaves is a story of broken trust and one man's heroic effort to hold fast the ties that bind him to everything he loves.
James Ellroy and Otto Penzler mined the past century to find this treasure trove of thirty-nine stories. From noir's twenties-era infancy come gems like James M. Cain's "Pastorale," and its postwar heyday boasts giants like Mickey Spillane and Evan Hunter. Packing an undeniable punch, diverse contemporary incarnations include Elmore Leonard, Patricia Highsmith, Joyce Carol Oates, Dennis Lehane, and William Gay, with many page-turners appearing from the past decade.
Ruth and Simon reluctantly agree to let their young teenage daughter, Heather, go off on a camping holiday in Cornwall with her best friend, Kelly, and her family. While on a vacation of their own, they get the news that both girls have gone missing. Kelly is found alive, but, after several days of searching, Heather's body is discovered inside some old mine workings. Although the police detective leading the investigation harbours suspicions of foul play, the verdict is that the death was accidental.The emotional strain of Heather's death ruins Ruth and Simon's marriage. After the divorce, Ruth moves from London to Cambridgeshire, where she remarries and has another child - a daughter, Beatrice. But when Beatrice is close to the age Heather was when she died, she too mysteriously disappears ...Helen Walker (of Harvey's 2008 novel Gone to Ground), one of the officers involved in the investigation, travels to Cornwall to seek connections between Beatrice's disappearance and Heather's death. Will Grayson (also of Gone to Ground), the officer leading the enquiry, is torn between his fears that a recently paroled child-abuser might be responsible and his growing suspicions that someone closer to home might have taken Beatrice. With the stakes impossibly high and time running out, Helen and Will draw closer to their quarry while the truth seems to slip further into the distance.
@90@@90@@90@@28@There were thirteen crime-scene pictures. Dead faces set in grimaces and shouts. Faces howling, whistling, moaning, crying, hissing. Hazel pinned them to the wall and stood back. It was a silent opera of ghosts. @33@@34@@018@Detective Inspector Hazel Micallef has lived all her days in the small town of Port Dundas and is now making her way toward retirement with something less than grace. Hobbled by a bad back and a dependence on painkillers, and feeling blindsided by divorce after nearly four decades of marriage, sixty-one-year-old Hazel has only the constructive criticism of her old goat of a mother and her own sharp tongue to buoy her. But when a terminally ill Port Dundas woman is gruesomely murdered in her own home, Hazel and her understaffed department must spring to life. And as one terminally ill victim after another is found@95@#151;their bodies drained of blood, their mouths sculpted into strange shapes@95@#151;Hazel finds herself tracking a truly terrifying serial killer across the country while everything she was barely holding together begins to spin out of control. @33@@34@Through the cacophony of her bickering staff, her unsupportive superiors, a clamoring press, the town@95@#8217;s rumor mill, and her own nagging doubts, Hazel can sense the dead trying to call out. But what secret do they have to share? And will she hear it before it@95@#8217;s too late? @33@@34@In @28@The Calling, I@018@nger Ash Wolfe brings a compelling new voice and an irresistible new heroine to the mystery world. @91@@91@@91@