The Strange House

A stunning new psychological thriller set in past and present-day Cumbria from the award-winning author of the Dalziel and Pascoe series. Things move slowly in the tiny village of Illthwaite, but that’s about to change with the arrival of two strangers. Sam Flood is a young Australian post-grad en route to Cambridge. Miguel Madero is a Spanish historian in flight from a seminary. They have nothing in common and no connection, except that they both want to dig up bits of the past that some people would rather keep buried. Sam is looking for information about her grandmother who left Illthwaite courtesy of the child migrant scheme four decades earlier. The past Mig is interested in is more than four centuries old. They meet in the village pub, the Stranger House, a remnant of the old Illthwaite Priory. They can find nothing to agree on. Sam believes that anything that can’t be explained by math isn’t worth explaining; Mig sees ghosts; Sam is a fun-loving, experienced young woman; Mig is a 26-year-old virgin. But once their paths cross, they become increasingly entangled as they pursue what at first seem to be separate quests, finding out the hard way who to trust and who to fear in this ancient village. The action is fast, there are clashes physical and metaphysical, and shocks natural and supernatural, as the tension mounts to an explosive climax. But fans of Reginald Hill’s will not be surprised to find a few laughs along the way. And very loyal fans might even recognize a ghost from the very distant past. . . .

When Tim and Gerry see a face at the window of a boarded up house they decide to investigate.

When Tim and Gerry see a face at the window of a boarded up house they decide to investigate.

“A novelistic mosaic that simultaneously reads like a thriller and like a strange, dreamlike excursion into the subconscious.” —The New York Times Years ago, when House of Leaves was first being passed around, it was nothing more than a badly bundled heap of paper, parts of which would occasionally surface on the Internet. No one could have anticipated the small but devoted following this terrifying story would soon command. Starting with an odd assortment of marginalized youth -- musicians, tattoo artists, programmers, strippers, environmentalists, and adrenaline junkies -- the book eventually made its way into the hands of older generations, who not only found themselves in those strangely arranged pages but also discovered a way back into the lives of their estranged children. Now this astonishing novel is made available in book form, complete with the original colored words, vertical footnotes, and second and third appendices. The story remains unchanged, focusing on a young family that moves into a small home on Ash Tree Lane where they discover something is terribly wrong: their house is bigger on the inside than it is on the outside. Of course, neither Pulitzer Prize-winning photojournalist Will Navidson nor his companion Karen Green was prepared to face the consequences of that impossibility, until the day their two little children wandered off and their voices eerily began to return another story -- of creature darkness, of an ever-growing abyss behind a closet door, and of that unholy growl which soon enough would tear through their walls and consume all their dreams.

Told in their separate voices, Gavin, a loner outcast, and Delilah, back in small-town Kansas after years at a Massachusetts boarding school, reconnect their senior year, but as their relationship deepens, it is clear that the eerie house Gavin dwells in will do anything to keep the two apart.

In her first full-length volume of poems, Ruth Irup Sanabria explores language's power to destroy and create through the imagination and narrative of free-verse poems fueled by metaphor, music, and satire. In the first section, the author writes about a genocidal dictatorship that began in 1976 and that brought about the disappearances and deaths of thousands of Argentines. Voices of the children of the disappeared are juxtaposed with official expos 's on the dictatorship, illuminating their plight in vivid detail. The second section explores racism and poverty and imbues it with the rhythms of Latino music and jazz. In the third section, the poet exploring the idea that victims of political violence may actually be enabling it through complicity, apathy, and guilt. Written in a variety of styles, Sanabria's poetry provides a fresh perspective on social injustice and on poetry itself.