You Will Love What You Have Killed

Faldistoire’s grandfather thinks he’s a ghost. Sylvie’s mother reads tarot and summons stormclouds to mete her witch’s justice. Behind his Dad of the Year demeanour, Sébastien’s father hides dark designs. It’s Croustine’s grandfather who makes the boy a pair of slippers from the dead family dog, but it’s his father, the cannily-named Kevin Lambert, who always seems to be nearby when tragedy strikes, and in the cemetery, under the baleful eyes of toads, small graves are dug one after the other: Chicoutimi, Quebec, is a dangerous place for children. But these young victims of rape, arbitrary violence, and senseless murder keep coming back from the dead. They return to school, explore their sexualities, keep tabs on grown-up sins—and plot their apocalyptic retribution. Surreal and darkly comic, this debut novel by Kevin Lambert, one of the most celebrated and controversial writers to come out of Quebec in recent memory, takes the adult world to task—and then takes revenge.

The classic graphic novel collaboration from the minds behind LADY KILLER returns in a new softcover format! Antonio Mercer is a private eye by trade, a man bad luck seems to follow, as evidenced by his newest client—the sister of his former lover, Julie Roman, who's now disappeared. And Julie's sister, Jessica, is a real piece of work. Still, Mercer takes the case, getting entangled in the same family drama that drove him away. Well, maybe not exactly the same, because the Romans have made some... unsavory connections. As the bodies start piling up, Mercer has no choice but to see the case through to its end—or become one of its casualties.

“Much like Donna Tartt’s The Secret History, M. L. Rio’s sparkling debut is a richly layered story of love, friendship, and obsession...will keep you riveted through its final, electrifying moments.” —Cynthia D’Aprix Sweeney, New York Times bestselling author of The Nest "Nerdily (and winningly) in love with Shakespeare...Readable, smart.” —New York Times Book Review On the day Oliver Marks is released from jail, the man who put him there is waiting at the door. Detective Colborne wants to know the truth, and after ten years, Oliver is finally ready to tell it. A decade ago: Oliver is one of seven young Shakespearean actors at Dellecher Classical Conservatory, a place of keen ambition and fierce competition. In this secluded world of firelight and leather-bound books, Oliver and his friends play the same roles onstage and off: hero, villain, tyrant, temptress, ingénue, extras. But in their fourth and final year, good-natured rivalries turn ugly, and on opening night real violence invades the students’ world of make-believe. In the morning, the fourth-years find themselves facing their very own tragedy, and their greatest acting challenge yet: convincing the police, each other, and themselves that they are innocent. If We Were Villains was named one of Bustle's Best Thriller Novels of the Year, and Mystery Scene says, "A well-written and gripping ode to the stage...A fascinating, unorthodox take on rivalry, friendship, and truth."

Paul Vanderman could be at any normal high school where bullies, girls, and annoying teachers are just part of life. But “normal” doesn’t apply when it comes to the school’s biggest bully, Roth—a twisted and threatening thug with an evil agenda. When Paul ends up delivering a message from Roth to the leader of a gang at a nearby school, it fuels a rivalry with immediate consequences. Paul attempts to distance himself from the feud, but somehow Roth keeps finding reasons for him to stick around. Then one day Roth hands him a knife. And even though Paul is scared, he has never felt so powerful.

My name is Amber Reynolds. There are three things you should know about me: 1. I’m in a coma. 2. My husband doesn’t love me anymore. 3. Sometimes I lie. Amber wakes up in a hospital. She can’t move. She can’t speak. She can’t open her eyes. She can hear everyone around her, but they have no idea. Amber doesn’t remember what happened, but she has a suspicion her husband had something to do with it. Alternating between her paralyzed present, the week before her accident, and a series of childhood diaries from twenty years ago, this brilliant psychological thriller asks: Is something really a lie if you believe it's the truth?

THE MUST-READ MULTIMILLION BESTSELLING MYSTERY SERIES • The final book in the A Good Girl's Guide to Murder series that reads like your favorite true crime podcast or show. By the end, you'll never think of good girls the same way again... Pip is about to head to college, but she is still haunted by the way her last investigation ended. She’s used to online death threats in the wake of her viral true-crime podcast, but she can’t help noticing an anonymous person who keeps asking her: Who will look for you when you’re the one who disappears? Soon the threats escalate and Pip realizes that someone is following her in real life. When she starts to find connections between her stalker and a local serial killer caught six years ago, she wonders if maybe the wrong man is behind bars. Police refuse to act, so Pip has only one choice: find the suspect herself—or be the next victim. As the deadly game plays out, Pip discovers that everything in her small town is coming full circle . . .and if she doesn’t find the answers, this time she will be the one who disappears. . . And don't miss Holly Jackson's next thriller, Five Surive!

When forensic anthropologist Elizabeth MacPherson becomes the official P.I. for her brother Bill's fledgling Virginia law firm, she quickly takes on two complex cases. Eleanor Royden, a perfect lawyer's wife for twenty years, has shot her ex-husband and his wife in cold blood. And Donna Jean Morgan is implicated in the death of her Bible-thumping bigamist husband. Bill's feminist firebrand partner, A. P. Hill, does her damnedest for Eleanor, an abused wife in denial, and Bill gallantly defends Donna Jean. Meanwhile, Elizabeth's forensic expertise, including her special knowledge of poisons, gives her the most challenging case of her career. . . .

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times