When We Were Kings

A twenty-year-old crime, an accelerated death penalty, and an elitist family cover-up: Nyla races against the death row clock to save a woman the world is rooting for . . . and against. Which side will you choose? Twenty years ago, eighteen-year-old Francis Quick was convicted of murdering her best friend, Cora King, and sentenced to death. Now the highly debated Accelerated Death Penalty Act has passed giving Frankie thirty final days to live. Surprising everyone, one of the King family members sets out to challenge the woefully inadequate evidence and potential innocence of Frankie Quick. The at-first reluctant but soon-fiery Nyla and her unexpected ally—handsome country island boy Sam Stack—bring Frankie’s case to the international stage through her YouTube channel, Death Daze. They step into fame and a hometown battle that someone’s still willing to kill over. But who? The senator? The philanthropist? The pawn shop owner? Nyla’s own mother? Best advice: Don’t go to family dinner at the Kings’ estate. More people will leave in body bags than on their own two feet. And as for Frankie Quick, she’s a gem . . . even if she’s guilty. Praise for We Were Kings: “We Were Kings is the best kind of mystery novel—intelligent and bursting with heart. As Nyla untangled her family’s secrets, the twists left me breathless.” —Brittany Cavallaro, New York Times bestselling author “Bingeable. Atmospheric. A book that grabs hold and doesn’t let go. We Were Kings offers a delicious mystery perfect for fans of We Were Liars and A Good Girl’s Guide to Murder. I savored every word from beginning to end.” —Caroline George, author of The Summer We Forgot Young Adult suspense with some romance Stand-alone novel Includes discussion questions for book clubs

In 1974 in Kinshasa, Zaïre, two African American boxers were paid five million dollars apiece to fight each other. One was Muhammad Ali, the aging but irrepressible “professor of boxing.” The other was George Foreman, who was as taciturn as Ali was voluble. Observing them was Norman Mailer, a commentator of unparalleled energy, acumen, and audacity. Whether he is analyzing the fighters’ moves, interpreting their characters, or weighing their competing claims on the African and American souls, Mailer’s grasp of the titanic battle’s feints and stratagems—and his sensitivity to their deeper symbolism—makes this book a masterpiece of the literature of sport. Praise for The Fight “Exquisitely refined and attenuated . . . [a] sensitive portrait of an extraordinary athlete and man, and a pugilistic drama fully as exciting as the reality on which it is based.”—The New York Times “One of the defining texts of sports journalism. Not only does Mailer recall the violent combat with a scholar’s eye . . . he also makes the whole act of reporting seem as exciting as what’s occurring in the ring.”—GQ “Stylistically, Mailer was the greatest boxing writer of all time.”—Chuck Klosterman, Esquire “One of Mailer’s finest books.”—Louis Menand, The New Yorker Praise for Norman Mailer “[Norman Mailer] loomed over American letters longer and larger than any other writer of his generation.”—The New York Times “A writer of the greatest and most reckless talent.”—The New Yorker “Mailer is indispensable, an American treasure.”—The Washington Post “A devastatingly alive and original creative mind.”—Life “Mailer is fierce, courageous, and reckless and nearly everything he writes has sections of headlong brilliance.”—The New York Review of Books “The largest mind and imagination [in modern] American literature . . . Unlike just about every American writer since Henry James, Mailer has managed to grow and become richer in wisdom with each new book.”—Chicago Tribune “Mailer is a master of his craft. His language carries you through the story like a leaf on a stream.”—The Cincinnati Post

In 1950's Boston, the Irish Republican Army is running guns and killing witnesses. Cal and Dante are committed to stopping them. When a body is discovered at the Charlestown locks--tarred, feathered and shot to death--it appears to be a gangland killing, and is almost immediately dismissed. However, Cal O'Brien's cousin, Boston PD detective Owen Lackey, recognizes the murder style as the typical retribution for IRA informers. Combined with a tip-off about a boat coming into Boston weighed down with stolen guns and ammunition, the body in the locks hints that much more may be at stake than a one-off hit. Serpents in the Cold introduced us to Cal and Dante, whose previous investigation brought them to the highest ranks of Boston's political elite. This time, Cal and Dante descend into the city's shadowy underbelly--a world of packed dance halls, Irish wakes, and funeral parlors. There they discover a terrorist plot that will shake the city to its core and bring them head-to-head not only with Cal's past, but with the IRA Army Council itself.

When British and American leaders today talk of the nation—whether it is Boris Johnson, Barack Obama, or Donald Trump—they do so, in part, in terms established by eighteenth-century British literature. The city on a hill and the sovereign individual are tropes at the center of modern Anglo-American political thought, and the literature that accompanied Britain’s rise to imperial prominence played a key role in creating them. We Are Kings is the first book to interpret eighteenth-century British literature from the perspective of political theology. Spencer Jackson returns here to a body of literature long associated with modernity’s origins without assuming that modernity entails a separation of the religious from the profane. The result is a study that casts this literature in a surprisingly new light. From the patriot to the marriage plot, the narratives and characters of eighteenth-century British literature are the products of the politicization of religion, Jackson argues; the real story of this literature is neither secularization nor the survival of orthodox Judeo-Christianity but rather the expansion of a movement beginning in the High Middle Ages to transfer the transcendent authority of the Catholic Church to the English political sphere. The novel and the modern individual, then, are in a sense both secular and religious at once—products of a modern political faith that has authorized Anglo-American exceptionalism from the eighteenth century to the present.

“Poignant and important.” —Refinery29 “A bright and sparkly celebration of love and self-acceptance.” —Kirkus Reviews Judy Blume meets RuPaul’s Drag Race in this funny, feel-good debut novel about a queer teen who navigates questions of identity and self-acceptance while discovering the magical world of drag. Perpetually awkward Nima Kumara-Clark is bored with her insular community of Bridgeton, in love with her straight girlfriend, and trying to move past her mother’s unexpected departure. After a bewildering encounter at a local festival, Nima finds herself suddenly immersed in the drag scene on the other side of town. Macho drag kings, magical queens, new love interests, and surprising allies propel Nima both painfully and hilariously closer to a self she never knew she could be—one that can confidently express and accept love. But she’ll have to learn to accept lost love to get there. From debut author Tanya Boteju comes a poignant, laugh-out-loud tale of acceptance, self-expression, and the colorful worlds that await when we’re brave enough to look.

Features five of the author's best early stories: title selection plus "The Phantom Rickshaw," "Wee Willie Winkie," "Without Benefit of Clergy" and "The Strange Ride of Morrowbie Jukes."

A heart-swelling debut for fans of The Silver Linings Playbook and The Curious Incident of the Dog in the Night-Time. Sometimes life isn’t as simple as heroes and villains. For Zelda, a twenty-one-year-old Viking enthusiast who lives with her older brother, Gert, life is best lived with some basic rules: 1. A smile means “thank you for doing something small that I liked.” 2. Fist bumps and dabs = respect. 3. Strange people are not appreciated in her home. 4. Tomatoes must go in the middle of the sandwich and not get the bread wet. 5. Sometimes the most important things don’t fit on lists. But when Zelda finds out that Gert has resorted to some questionable—and dangerous—methods to make enough money to keep them afloat, Zelda decides to launch her own quest. Her mission: to be legendary. It isn’t long before Zelda finds herself in a battle that tests the reach of her heroism, her love for her brother, and the depth of her Viking strength. When We Were Vikings is an uplifting debut about an unlikely heroine whose journey will leave you wanting to embark on a quest of your own, because after all... We are all legends of our own making.