The Dead Yard

Named the Dolman Travel Book of the Year, The Dead Yard paints an unforgettable portrait of modern Jamaica. Since independence, Jamaica has gradually become associated with twin images--a resort-style travel Eden for foreigners and a new kind of hell for Jamaicans, a society where gangs control the areas where most Jamaicans live and drug lords like Christopher Coke rule elites and the poor alike. Ian Thomson's brave book explores a country of lost promise, where America's hunger for drugs fuels a dependent economy and shadowy politics. The lauded birthplace of reggae and Bob Marley, Jamaica is now sunk in corruption and hopelessness. A synthesis of vital history and unflinching reportage, The Dead Yard is "a fascinating account of a beautiful, treacherous country" (Irish Times).

From the New York Times bestselling author of The Chain comes the riveting sequel to his acclaimed debut, Dead I Well May Be, featuring mercenary bad boy Michael Forsythe—the hero "other writers can only aspire to create" (Ed McBain). With the same poetic lilt and heart-stopping suspense that made Dead I Well May Be a critical favorite, the saga continues with The Dead Yard—a thriller in which Michael Forsythe must insinuate himself into the good graces of a band of calculating political terrorists. As the novel opens, he's on vacation in Spain, but when a soccer riot between Irish and English fans escalates out of control, Michael is suddenly arrested and thrown into a Spanish prison. Enter Samantha, a British intelligence agent as cunning as she is voluptuous. She makes Michael an offer he cannot refuse: instead of being extradited to Mexico to serve time for a prison break, he can help her by infiltrating an IRA sleeper cell in the United States, and she'll see to it that the Spaniards and Mexicans forget all about him. Filled with apprehension about the dangers of the assignment, Michael reluctantly agrees. Within hours he is flown to New York City and thrust into the nightmare world of men known for their distinctive brands of torture and revenge. Michael crosses and double-crosses key players, escapes his own lies by a hairsbreadth, loses his only ally, and falls for the daughter of his enemy—a most inadvisable development. Boasting spot-on dialogue, crackling wit, and one of the most memorable heroes in all of crime fiction, Adrian McKinty's dazzling new novel confirms his reputation as a brilliant storyteller and writer on the rise.

As Jack the Ripper’s reign of terror in London comes to an end, a new era of depravity sets the stage for the first gripping mystery featuring the detectives of Scotland Yard’s Murder Squad. “If Charles Dickens isn’t somewhere clapping his hands for this one, Wilkie Collins surely is.”—The New York Times Book Review Victorian London—a violent cesspool of squalid sin. The twelve detectives of Scotland Yard’s Murder Squad are expected to solve the thousands of crimes committed in the city each month. Formed after the Metropolitan Police’s spectacular failure in capturing Jack the Ripper, they suffer the brunt of public contempt. But no one can anticipate the brutal murder of one of their own... A Scotland Yard Inspector has been found stuffed in a black steamer trunk at Euston Square Station, his eyes and mouth sewn shut. When Walter Day, the squad’s new hire, is assigned to the case, he finds a strange ally in Dr. Bernard Kingsley, the Yard’s first forensic pathologist. Their grim conclusion: this was not just a random, bizarre murder but in all probability, the first of twelve. The squad itself it being targeted and the devious killer shows no signs of stopping. But Inspector Day has one more surprise, something even more shocking than the crimes: the murderer’s motive.

Tells the story of Jamaican “scammers” who use crime to gain autonomy, opportunity, and repair There is romance in stealing from the rich to give to the poor, but how does that change when those perceived rich are elderly white North Americans and the poor are young Black Jamaicans? In this innovative ethnography, Jovan Scott Lewis tells the story of Omar, Junior, and Dwayne. Young and poor, they strive to make a living in Montego Bay, where call centers and tourism are the two main industries in the struggling economy. Their experience of grinding poverty and drastically limited opportunity leads them to conclude that scamming is the best means of gaining wealth and advancement. Otherwise, they are doomed to live in “sufferation”—an inescapable poverty that breeds misery, frustration, and vexation. In the Jamaican lottery scam run by these men, targets are told they have qualified for a large loan or award if they pay taxes or transfer fees. When the fees are paid, the award never arrives, netting the scammers tens of thousands of U.S. dollars. Through interviews, historical sources, song lyrics, and court testimonies, Lewis examines how these scammers justify their deceit, discovering an ethical narrative that reformulates ideas of crime and transgression and their relationship to race, justice, and debt. Scammer’s Yard describes how these young men, seeking to overcome inequality and achieve autonomy, come to view crime as a form of liberation. Their logic raises unsettling questions about a world economy that relegates postcolonial populations to deprivation even while expecting them to follow the rules of capitalism that exacerbate their dispossession. In this groundbreaking account, Lewis asks whether true reparation for the legacy of colonialism is to be found only through radical—even criminal—means.

A struggling actress' life gets turned upside down when she witnesses the burial of an urn in her yard. She gets entangled with the "dead girl," a Latina health guru, and her criminal antics from Miami to New York to L.A. Why did Poppy agree to mourner manage Dalia's burial site? Dead Dalia's fan club overwhelms Poppy as do the signs of Dalia's former life as a healer and thief. Yet, Dalia's clothes bring Poppy good luck and Dalia's luscious, Latin lovers are irresistible. Dalia's life in the witness protection program is both dangerous and intriguing. Once Poppy is accused of complicity, she wants everything Dalia out of her life.

“Front lawns, beware: The Germinatrix has you in her crosshairs! Ivette Soler is a welcome voice urging us to mow less and grow some food—in her uniquely fun, infectious yet informative way.” —Garden Rant People everywhere are turning patches of soil into bountiful vegetable gardens, and each spring a new crop of beginners pick up trowels and plant seeds for the first time. They're planting tomatoes in raised beds, runner beans in small plots, and strawberries in containers. But there is one place that has, until now, been woefully neglected—the front yard. And there's good reason. The typical veggie garden, with its raised beds and plots, is not the most attractive type of garden, and favorite edible plants like tomatoes and cucumbers have a tendency to look a scraggily, even in their prime. But The Edible Front Yard isn't about the typical veggie garden, and author Ivette Soler is passionate about putting edibles up front and creating edible gardens with curb appeal. Soler offers step-by-step instructions for converting all or part of a lawn into an edible paradise; specific guidelines for selecting and planting the most attractive edible plants; and design advice and plans for the best placement and for combining edibles with ornamentals in pleasing ways. Inspiring and accessible, The Edible Front Yard is a one-stop resource for a front-and-center edible garden that is both beautiful and bountiful year-round.

Getting into the mind of a killer isn't for the faint of heart... Psychologist Alice Quentin is about to learn that first hand, in this thrilling novel for fans of Nicci French and Ruth Rendell. Ray and Marie Benson killed 13 women before they were caught, tried and imprisoned. Five of their victims were never found. Six years later, psychologist Alice Quentin discovers a woman's body on the waste ground at Crossbones Yard. The wounds are horrifyingly similar to the Bensons' signature style. But who would want to copy their crimes? When Alice is called in to consult, her first instinct is to say no. She wants to focus on treating her patients, not analysing the mind of a murderer. But the body at Crossbones Yard is just the start, and the killer may already be closer than Alice knows.

In Jan Beatty’s fourth collection, The Switching/Yard, she takes us through the ravaged landscape of the American West. In unflinching lines of burning lyric and relentless narrative, she forges the constructed body into movement. What is still stereotyped as the romantic journey—now becomes as scarred as the Rust Belt. What lives in our collective unconscious as the Golden West becomes almost surreal, as these poems snap that vision in half with extended description of ghost explorers. We see the open truck cab, the farm workers on the corner waiting for pick-up; we see the speaker returning west to find the long-abandoned story of the birthfather. There is no stable landscape here except the horizontal action of moving through. Landscape becomes story. In this extended tale of the idea of family, we find stand-ins for the father in the form of a hit man, Jim Morrison, and ultimately the unyielding road takes the place of the body. The Switching/Yard is at once the horizontal world of the birth table where babies are switched, the complex yard of the body where gender routinely shifts and switches, and the actual switching yard of the trains that run the inevitable tracks of this book.