A Matter Of Murder

Jessica Fletcher is in the Berkshires attending a writers’ conference at a historic mansion where her friends the Savoys are hosting a murder-mystery party. As both a crime solver and a mystery author, Jessica is an old hand at this kind of thing. So she swears to the Savoys that she won’t reveal the secrets of their play and goes about enjoying the weekend with her colleagues. But when a young actor’s murder scene appears all too real, no one can tell what’s scripted and what isn’t. They say the show must go on, but everyone is wondering: Who really dunit?

Campbell and Carter are back in their toughest case yet in the seventh Cotswold village crime novel following An Unfinished Murder. Two years ago, Miff Ferguson chose to opt out of the rat race. Since then he’s been living rough and happily so. Until now. For as the first signs of winter approach, everything in his life is uprooted. While looking for shelter, Miff stumbles across the corpse of a young woman in a dilapidated warehouse. Quickly realizing he is not alone, and has been spotted, Miff becomes embroiled in a game of cat-and-mouse with a killer that forces him to abandon his life and take refuge with his aunt and uncle in the village of Weston St Ambrose. But despite his best efforts to lie low, trouble seems to follow him everywhere, and when another dead body is discovered at a local farm, it’s clear Miff is not free from danger. With the clock ticking, Inspector Jess Campbell and Superintendent Ian Carter must join forces with the team of police at Bamford to piece together the puzzle before another innocent life is lost . . . Praise for the writing of Ann Granger “A well-written, well-crafted traditional British mystery by a writer with an assured grasp of her technique.” —reviewingtheevidence.com “Characterization, as ever with Granger, is sharp and astringent.” —The Times “The story just gets more complex, mysterious and chilling.” —Good Book Guide “For once a murder novel which displays a gentle touch and a dash of wit.” —The Northern Echo “A clever and lively book.” —Margaret York

Why is it so much fun to read about death and dismemberment? In Murder Book, lifelong true-crime obsessive and New Yorker cartoonist Hilary Fitzgerald Campbell tries to puzzle out the answer. An unconventional graphic exploration of a lifetime of Ann Rule super-fandom, amateur armchair sleuthing, and a deep dive into the high-profile murders that have fascinated the author for decades, this is a funny, thoughtful, and highly personal blend of memoir, cultural criticism, and true crime with a focus on the often-overlooked victims of notorious killers.

"Kat Martin is a fast gun when it comes to storytelling, and I love her books." —Linda Lael Miller, #1 New York Times bestselling author New York Times bestselling author Kat Martin is back with her most thrilling novel yet in the Maximum Security series—The Perfect Murder. Fans of Sandra Brown, Linda Howard and Julie Garwood will fall in love with The Max. The eldest of the three wealthy Garrett brothers, Reese Garrett is in the middle of a major purchase for his multimillion-dollar oil and gas company, Garrett Resources. The Poseidon offshore drilling platform venture will greatly enhance the company’s value. But when Reese is on a trip out to see the rig, his helicopter crashes, leaving him hospitalized and two men dead. It’s discovered the chopper was sabotaged, and Reese is determined to find out who’s behind the crash—and whether he was the intended target. Then, when his lover, Kenzie, is accused of her ex-husband’s murder—a man with a vested interest in the Poseidon deal—clues start pointing to a connection that puts Reese, Kenzie and her young son in the sights of a killer. From the Texas heat to the Louisiana bayous, Reese and his brothers must track down the truth before the body count gets any higher. Watch for The Perfect Murder, the latest in the bestselling Maximum Security series, coming soon! Maximum Security Book 1: The Conspiracy Book 2: The Deception Book 3: The Ultimate Betrayal

Selected by the Modern Library as one of the 100 best nonfiction books of all time From the Modern Library’s new set of beautifully repackaged hardcover classics by Truman Capote—also available are Breakfast at Tiffany’s and Other Voices, Other Rooms (in one volume), Portraits and Observations, and The Complete Stories Truman Capote’s masterpiece, In Cold Blood, created a sensation when it was first published, serially, in The New Yorker in 1965. The intensively researched, atmospheric narrative of the lives of the Clutter family of Holcomb, Kansas, and of the two men, Richard Eugene Hickock and Perry Edward Smith, who brutally killed them on the night of November 15, 1959, is the seminal work of the “new journalism.” Perry Smith is one of the great dark characters of American literature, full of contradictory emotions. “I thought he was a very nice gentleman,” he says of Herb Clutter. “Soft-spoken. I thought so right up to the moment I cut his throat.” Told in chapters that alternate between the Clutter household and the approach of Smith and Hickock in their black Chevrolet, then between the investigation of the case and the killers’ flight, Capote’s account is so detailed that the reader comes to feel almost like a participant in the events.

A seminal work and examination of the psychopathology of journalism. Using a strange and unprecedented lawsuit by a convicted murder againt the journalist who wrote a book about his crime, Malcolm delves into the always uneasy, sometimes tragic relationship that exists between journalist and subject. Featuring the real-life lawsuit of Jeffrey MacDonald, a convicted murderer, against Joe McGinniss, the author of Fatal Vision. In Malcolm's view, neither journalist nor subject can avoid the moral impasse that is built into the journalistic situation. When the text first appeared, as a two-part article in The New Yorker, its thesis seemed so radical and its irony so pitiless that journalists across the country reacted as if stung. Her book is a work of journalism as well as an essay on journalism: it at once exemplifies and dissects its subject. In her interviews with the leading and subsidiary characters in the MacDonald-McGinniss case -- the principals, their lawyers, the members of the jury, and the various persons who testified as expert witnesses at the trial -- Malcolm is always aware of herself as a player in a game that, as she points out, she cannot lose. The journalist-subject encounter has always troubled journalists, but never before has it been looked at so unflinchingly and so ruefully. Hovering over the narrative -- and always on the edge of the reader's consciousness -- is the MacDonald murder case itself, which imparts to the book an atmosphere of anxiety and uncanniness. The Journalist and the Murderer derives from and reflects many of the dominant intellectual concerns of our time, and it will have a particular appeal for those who cherish the odd, the off-center, and the unsolved.

Part elegy, part true crime story, this memoir-in-verse from the author of the award-winning The Argonauts expands the notion of how we tell stories and what form those stories take through the story of a murdered woman and the mystery surrounding her last hours. Jane tells the spectral story of the life and death of Maggie Nelson’s aunt Jane, who was murdered in 1969 while a first-year law student at the University of Michigan. Though officially unsolved, Jane’s murder was apparently the third in a series of seven brutal rape-murders in the area between 1967 and 1969. Nelson was born a few years after Jane’s death, and the narrative is suffused with the long shadow her murder cast over both the family and her psyche. Exploring the nature of this haunting incident via a collage of poetry, prose, dream-accounts, and documentary sources, including local and national newspapers, related “true crime” books such as The Michigan Murders and Killer Among Us, and fragments from Jane’s own diaries written when she was 13 and 21, its eight sections cover Jane’s childhood and early adulthood, her murder and its investigation, the direct and diffuse effect of her death on Nelson’s girlhood and sisterhood, and a trip to Michigan Nelson took with her mother (Jane’s sister) to retrace the path of Jane’s final hours. Each piece in Jane has its own form, and the movement from each piece to the next--along with the white space that surrounds each fragment--serve as important fissures, disrupting the tabloid, “page-turner” quality of the story, and eventually returning the reader to deeper questions about girlhood, empathy, identification, and the essentially unknowable aspects of another’s life and death. Equal parts a meditation on violence (serial, sexual violence in particular), and a conversation between the living and the dead, Jane’s powerful and disturbing subject matter, combined with its innovations in genre, shows its readers what poetry is capable of--what kind of stories it can tell, and how it can tell them.

1964—Life on the North Dakota farm hasn’t always been easy for Marjorie Trumaine. She has begun working as a professional indexer to help with the bills—which have only gotten worse since the accident that left her husband, Hank, blind and paralyzed. When her nearest neighbors are murdered in their beds, though, Marjorie suddenly has to deal with new and terrifying problems. Sheriff Hilo Jenkins brings her a strange amulet, found clutched in the hand of her murdered neighbor, and asks her to quietly find out what it is. Marjorie uses all the skills she has developed as an indexer to research the amulet and look into the murders, but as she closes in on the killer, and people around her continue to die, she realizes that the murderer is also closing in on her. From the Trade Paperback edition.