A parent’s worst nightmare is Grace’s deadliest case . . .
Roy Grace, creation of the CWA Diamond Dagger award winning author Peter James, faces his most complex case yet in Dead If You Don’t.
Kipp Brown, successful businessman and compulsive gambler, is having the worst run of luck of his life. He’s beginning to lose big style. However, taking his teenage son, Mungo, to their club’s big Saturday afternoon football match should have given him a welcome respite, if only for a few hours. But it’s at the stadium where his nightmare begins.
Within minutes of arriving at the game, Kipp bumps into a client. He takes his eye of Mungo for a few moments, and in that time, the boy is gone. Then he gets the terrifying message that someone has his child, and to get him back alive, Kipp will have to pay.
Defying instruction not to contact the police, Kipp reluctantly does just that, and Detective Superintendent Roy Grace is brought into investigate. At first it seems a straightforward case of kidnap. But rapidly Grace finds himself entering a dark, criminal underbelly of the city, where the rules are different and nothing is what it seems . . .
London, 1941. Amid the falling bombs Emmeline Lake dreams of becoming a fearless Lady War Correspondent. Unfortunately, Emmy instead finds herself employed as a typist for the formidable Henrietta Bird, the renowned agony aunt at Woman’s Friend magazine. Mrs Bird refuses to read, let alone answer, letters containing any form of Unpleasantness, and definitely not those from the lovelorn, grief-stricken or morally conflicted.
But the thought of these desperate women waiting for an answer at this most desperate of times becomes impossible for Emmy to ignore. She decides she simply must help and secretly starts to write back – after all, what harm could that possibly do?
When people ask me what I do – taxi drivers, dental hygienists – I tell them I work in an office. In almost nine years, no one’s ever asked what kind of office, or what sort of job I do there. I can’t decide whether that’s because I fit perfectly with their idea of what an office worker looks like, or whether people hear the phrase work in an office and automatically fill in the blanks themselves – lady doing photocopying, man tapping at keyboard.
Eleanor Oliphant has learned how to survive – but not how to live
She leads a simple life. She wears the same clothes to work every day, eats the same meal deal for lunch every day and buys the same two bottles of vodka to drink every weekend. Eleanor Oliphant is happy. Nothing is missing from her carefully timetabled life. Except, sometimes, everything.
One simple act of kindness is about to shatter the walls Eleanor has built around herself.
Now she must learn how to navigate the world that everyone else seems to take for granted – whilst searching for the courage to face the dark corners she’s avoided all her life.
Change can be good. Change can be bad. But surely any change is better than… fine?
Widely hailed as the fiction debut of 2017, Eleanor Oliphant is Completely Fine is a triumph of deft observation of everyday life. By turns laugh-aloud funny and deeply poignant, it is a book that champions everyday courage and the importance of friendship in a world where people are increasingly isolated. Challenging the stigmas that exist around loneliness in contemporary society, it is a gentle reminder of those we too easily overlook and how a life can be changed by small acts of kindness.
Five went out.
Four came back…
Is Alice here? Did she make it? Is she safe? In the chaos, in the night, it was impossible to say which of the four had asked after Alice’s welfare. Later, when everything got worse, each would insist it had been them.
Five women reluctantly pick up their backpacks and start walking along the muddy track. Only four come out the other side.
The hike through the rugged landscape is meant to take the office colleagues out of their air-conditioned comfort zone and teach resilience and team building. At least that is what the corporate retreat website advertises.
Federal Police Agent Aaron Falk has a particularly keen interest in the whereabouts of the missing bushwalker. Alice Russell is the whistleblower in his latest case – and Alice knew secrets. About the company she worked for and the people she worked with.
Far from the hike encouraging teamwork, the women tell Falk a tale of suspicion, violence and disintegrating trust. And as he delves into the disappearance, it seems some dangers may run far deeper than anyone knew.
Britain has lost the Falklands war, Margaret Thatcher battles Tony Benn for power and Alan Turing achieves a breakthrough in artificial intelligence. In a world not quite like this one, two lovers will be tested beyond their understanding.
Machines Like Me occurs in an alternative 1980s London. Charlie, drifting through life and dodging full-time employment, is in love with Miranda, a bright student who lives with a terrible secret. When Charlie comes into money, he buys Adam, one of the first batch of synthetic humans. With Miranda’s assistance, he co-designs Adam’s personality.
This near-perfect human is beautiful, strong and clever – a love triangle soon forms. These three beings will confront a profound moral dilemma. Ian McEwan’s subversive and entertaining new novel poses fundamental questions: what makes us human? Our outward deeds or our inner lives? Could a machine understand the human heart? This provocative and thrilling tale warns of the power to invent things beyond our control.
‘As a brilliantly realised extended metaphor for a totalitarian state it could be anywhere from Stasi-riddled East Germany, to Chile under Pinochet’s dictatorship to Salazar’s Portugal.’ – New Statesman
Anyone seeking evidence toward the buoyant health of Irish writing need look no further than Anna Burns’ triumphant Man Booker Prize victory for Milkman.
Joining a very select group of Booker-winning Irish authors (including Anne Enright, Roddy Doyle and Iris Murdoch), Burns’ often amusing – but ultimately deeply disquieting – satire of the Troubles proved a hit with our customers long before the winner’s announcement.
At the book’s heart, a teenager – whose only means of escape is literature – is slowly ground down by the unwanted attentions and creeping psychopathy of a paramilitary many years her senior. This is the secret state, a place where gossip and hearsay are weaponised methods of control, contained in a novel written with both a sad humour and a certain kind of fury.
Eschewing mention of Belfast and cloaking every character in nameless anonymity, this is contemporary history rewritten as dystopia, where power and fear are wrought by rumour and half-truth. ‘It’s a novel,’ remarked an astute Irish Times, ‘about failing to remember and failing to forget; failing to speak and failing to remain silent.’
No one loves and quarrels, desires and deceives as boldly and brilliantly as Greek gods and goddesses. They are like us, only more so – their actions and adventures scrawled across the heavens above, from the birth of the universe to the creation of humankind.
Stephen Fry – who fell in love with these stories as a child – retells these myths for our tragic, comic, fateful age.
Witness Athena born from the cracking open of Zeus’s great head and follow Persephone down into the dark realm of Hades. Experience the terrible and endless fate of Prometheus after his betrayal of Zeus and shiver as Pandora opens her jar of evil torments.
The Greek gods are the best and worst of us, and in Stephen Fry’s hands they tell us who we are.
Mythos – smart, funny, and above all great fun – is the retelling we deserve by a man who has been entertaining the nation for over four decades.
Is it a miracle?
Is it magic?
And who does the little girl belong to?
An exquisitely crafted multi-layered mystery brimming with folklore, suspense and romance, as well as with the urgent scientific curiosity of the Darwinian age, Once Upon a River is as richly atmospheric as Setterfield’s bestseller The Thirteenth Tale.
One clear, ice-cold January morning shortly after dawn, a wolf crosses the border between Poland and Germany. His trail leads all the way to Berlin, connecting the lives of disparate individuals whose paths intersect and diverge.
On an icy motorway eighty kilometres outside the city, a fuel tanker jack-knifes and explodes. The lone wolf is glimpsed on the hard shoulder and photographed by Tomasz, a Polish construction worker who cannot survive in Germany without his girlfriend. Elisabeth and Micha run away through the snow from their home village, crossing the wolf’s tracks on their way to the city. A woman burns her mother’s diaries on a Berlin balcony. And Elisabeth’s father, a famous sculptor, observes the vast skeleton of a whale in his studio and asks: What am I doing here? And why?
Experiences and encounters flicker past with a raw, visual power, like frames in a black and white film. Those who catch sight of the wolf see their own lives reflected, and find themselves searching for a different path in a cold time. This first novel of Germany’s most celebrated contemporary playwright is written in prose of tremendous power and precision.
A novel about glamour, surveillance, and corruption in contemporary Cuba, from an internationally bestselling author — who has never before been translated into English
Cleo, scion of a once-prominent Cuban family and a promising young writer in her own right, travels to Spain to collect a prestigious award. There, Cuban expats view her with suspicion — assuming she’s an informant for the Castro regime. To Cleo’s surprise, that suspicion follows her home to Cuba, where she finds herself under constant surveillance by the government. When she meets and falls in love with a Hollywood filmmaker, she discovers her family is not who she thought they were… and neither is the filmmaker.