Somewhere in Florence, a teenage girl holds the key to finding the terrorist behind the inauguration attacks. He’s been missing for two years. Now he’s ready to strike again, and the people hunting Nadia will do anything to get what she knows.
What if everyone around you insisted you were insane, while you became increasingly certain that someone was trying to kill you? That is the chilling question at the heart of Dr. Jess Wright’s new novel, Dance in a Madhouse.
In Dr. Mark Rubinstein’s powerful COSTA’S WAR, we discover how we may know the person we hope we would be. Yet the person who emerges remains untested.
Cheryl “C.B.” Wilson has discovered a reliable defense against the conversational ambitions of strangers. Look busy committing a murder.
Kathleen Reidy’s debut draws its force from the accumulated experience that made it possible. Her protagonist must learn to distinguish a life that looks settled from one she has chosen.
There are few places less impressed by a fallen pharmaceutical executive than a free clinic. For the disgraced psychiatrist at the center of J. Brian Turk’s “Boston Psychiatric,” this constitutes a thorough education.
Parker Garrett’s debut thriller, Adverse Events, makes the distance between what an organization promises and what it can be persuaded to do a crime scene.
In Texas, where distance can acquire the force of destiny, movement is easily mistaken for progress. Cole Burnett, the dangerously appealing center of Babette Fraser Hale’s novel-in-stories, Narcissi, is always going somewhere.
“You always know that there’s something behind what’s being shown,” Steena tells me, recalling her years in ministry. That instinct, the suspicion that every polished surface conceals a crack, powers her latest novel, When You Tell.
In 1966, Jerome Loving returned from Vietnam to a country that seemed scarcely to have noticed his absence. There had been no victory, and there would be no homecoming of the sort associated with the Second World War, which he calls “the good war.” America was carrying on.
A crime reporter makes an awkward tenant for a haunted mind. His occupation requires the reassuring distinction between what happened and what somebody believes happened. But give him a suspicious sound and certainty may become a professional liability.
In Susan L. Katz’s Pole Dancers at the Red Barn, The Red Barn offers no quick cure for pain, inherited or otherwise. Its promise is smaller and more credible. It
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