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A captivating new novel from the master of domestic drama. As the youngest of their three sons marries and Anthony and Rachel Brinkley welcome their third daughter-in-law to the family, no one quite realizes the profound shift about to take place. For their different reasons, the two previous daughters-in-law hadn't been able to resist Rachel's maternal clout and Anthony's gentle charms, and had settled into Brinkley family life without rocking the boat. But Charlotte — very young, very beautiful and semi-spoiled — has no intention of sharing power with her mother-in-law, and sets out to vanquish the matriarch. Soon Rachel's sons begin to treasonously think of their own houses as home, and of their mother's house as simply the place where their parents live — a necessary shift of loyalties that sets off fireworks in their mother's brain, breaks their father's heart and causes unexpected waves in their own marriages. A lovely, candid and hugely perceptive exploration of what happens inside every family when one generation, with its ways and habits, has to make way for the next — and everyone needs to learn what family love means all over again.

Sometimes a child knows better... GRACE Ten-year-old Grace knows that her mum loves her, but her mum loves drugs too. And there's only so long Grace can fend off the 'woman from the county' who is threatening to put her into care. Her only hope is... BILLY Grown-man Billy Shine hasn't been out of his apartment for years. People scare him, and the outside world scares him even more. Day in, day out, he lives a perfectly orchestrated silent life within his four walls. Until now. . . THE PLAN Grace bursts into Billy's life with a loud voice and a brave plan to get her mum clean. And it won't be easy, because they will have to confiscate the one thing her mum holds most dear . . . they will have to kidnap Grace.

A murder committed on paper, safely within the confines of a novel, is one thing. To see that same crime in the real world, is something else entirely. . . Frank Føns is a very successful crime writer. His novels, famed for their visceral descriptions of violent death, have made him a household name. But now someone is copying his crimes. For Frank what once seemed a clever, intriguing plot twist, has suddenly become a terrifying, blood-spattered reality. In the novel, a redhead who was scared of water is drowned. In the mirror-image of the real world, she has become an ex-girlfriend chained and left to die at the bottom of the harbour. A corrupt police-officer tortured to death becomes a contact who dies with fear in his eyes. Someone is taking Franks' fiction and using it to destroy his life. The writer must become the detective. In fiction, the bad guy always gets caught, but in real life there is no such guarantee. Fear becomes real. The knife cut hurts like hell. Our narrator may not survive. No-one is promising you a happy ending. For Frank what had once been a game is now a matter of life and death.

A murder committed on paper, safely within the confines of a novel, is one thing. To see that same crime in the real world, is something else entirely. . . Frank Føns is a very successful crime writer. His novels, famed for their visceral descriptions of violent death, have made him a household name. But now someone is copying his crimes. For Frank what once seemed a clever, intriguing plot twist, has suddenly become a terrifying, blood-spattered reality. In the novel, a redhead who was scared of water is drowned. In the mirror-image of the real world, she has become an ex-girlfriend chained and left to die at the bottom of the harbour. A corrupt police-officer tortured to death becomes a contact who dies with fear in his eyes. Someone is taking Franks' fiction and using it to destroy his life. The writer must become the detective. In fiction, the bad guy always gets caught, but in real life there is no such guarantee. Fear becomes real. The knife cut hurts like hell. Our narrator may not survive. No-one is promising you a happy ending. For Frank what had once been a game is now a matter of life and death.

Sometimes a child knows better... GRACE Ten-year-old Grace knows that her mum loves her, but her mum loves drugs too. And there's only so long Grace can fend off the 'woman from the county' who is threatening to put her into care. Her only hope is... BILLY Grown-man Billy Shine hasn't been out of his apartment for years. People scare him, and the outside world scares him even more. Day in, day out, he lives a perfectly orchestrated silent life within his four walls. Until now. . . THE PLAN Grace bursts into Billy's life with a loud voice and a brave plan to get her mum clean. And it won't be easy, because they will have to confiscate the one thing her mum holds most dear . . . they will have to kidnap Grace.

A murder committed on paper, safely within the confines of a novel, is one thing. To see that same crime in the real world, is something else entirely. . . Frank Føns is a very successful crime writer. His novels, famed for their visceral descriptions of violent death, have made him a household name. But now someone is copying his crimes. For Frank what once seemed a clever, intriguing plot twist, has suddenly become a terrifying, blood-spattered reality. In the novel, a redhead who was scared of water is drowned. In the mirror-image of the real world, she has become an ex-girlfriend chained and left to die at the bottom of the harbour. A corrupt police-officer tortured to death becomes a contact who dies with fear in his eyes. Someone is taking Franks' fiction and using it to destroy his life. The writer must become the detective. In fiction, the bad guy always gets caught, but in real life there is no such guarantee. Fear becomes real. The knife cut hurts like hell. Our narrator may not survive. No-one is promising you a happy ending. For Frank what had once been a game is now a matter of life and death.

Sometimes a child knows better... GRACE Ten-year-old Grace knows that her mum loves her, but her mum loves drugs too. And there's only so long Grace can fend off the 'woman from the county' who is threatening to put her into care. Her only hope is... BILLY Grown-man Billy Shine hasn't been out of his apartment for years. People scare him, and the outside world scares him even more. Day in, day out, he lives a perfectly orchestrated silent life within his four walls. Until now. . . THE PLAN Grace bursts into Billy's life with a loud voice and a brave plan to get her mum clean. And it won't be easy, because they will have to confiscate the one thing her mum holds most dear . . . they will have to kidnap Grace.

It is summer, it is the Edinburgh Festival. People queuing for a lunchtime show witness a road-rage incident - an incident which changes the lives of everyone involved. Jackson Brodie, ex-army, ex-police, ex-private detective, is also an innocent bys tander - until he becomes a suspect. With "Case Histories", Kate Atkinson showed how brilliantly she could explore the crime genre and make it her own. In "One Good Turn", she takes her masterful plotting one step further. Like a set of Russian dolls , each thread of the narrative reveals itself to be related to the last. Her Dickensian cast of characters are all looking for love or money and find it in surprising places. As ever with Atkinson what each one actually discovers is their true self. Unputdownable and triumphant, "One Good Turn" is a sharply intelligent read that is also percipient, funny, and totally satisfying.

Case Histories continues a winning streak for Kate Atkinson which began when her impressive novel Behind the Scenes at the Museum won the Whitbread First Novel Award. Since that book, Atkinson has gleaned a keen following of readers who are prepared to follow in the surprising directions the unpredictable author takes us on. And Atkinson--so far--hasnt let us down. The perfectly judged prose that distinguished Human Croquet is fully in evidence in Case Histories, and a new frisson here comes fr om the genre-stretching that Atkinson is indulging in. In some ways, this book could almost be seen as a new take on the crime novel (not the first genre one would expect the author to tackle), but the crime elements here Atkinson uses are peripheral . The protagonist here is a former police inspector who now makes a living as a private investigator. Jackson Brodie is making ends meet in a sweaty Cambridge summer and trying to deal with his own failed marriage. But if his life is adrift, perhaps Brodie can justify his existence via his belief that he can do some good for the people he encounters in his job. But he is to find that he will be irrevocably changed by those he is trying to help. As a vividly created cast of characters surround th e beleaguered Brodie, all the novelistic skills that shone in Atkinson's earlier books are fully in play. Those deluded into thinking they've picked up something resembling a standard private eye novel will find something much more rich and strange; Atkinson goes from strength to strength.--Barry Forshaw--This text refers to an out of print or unavailable edition of this title.

Once there was a widow with three sons, and their names were Black, Brown and Blue. Black was the eldest; moody and aggressive. Brown was the middle child; timid and dull. But Blue was his mother's favourite. And he was a murderer.' Blueeyed boy is t he brilliant new novel from Joanne Harris: a dark and intricately plotted tale of a poisonously dysfunctional family, a blind child prodigy, and a serial murderer who is not who he seems. Told through posts on a webjournal called "Badguysrock", this is a thriller that makes creative use of all the multiple personalities, disguise and mind games that are offered by playing out a life on the internet.

Liz and Jonathan Chambers were in trouble. Mortgage trouble. They'd stretched themselves to busting with their new exciting project - well, Liz thought it exciting - buying and managing the Silchester Tutorial College, and now couldn't sell their old house. Here they were, stuck with two mortgages, mounting debts and a miserable adolescent daughter who hadn't wanted to move anyway.Then Marcus Witherstone came into their lives - and at first it seemed he would solve all their problems. Marcus, se nior partner in Silchester's leading estate agency, was large, assured, and wore an expensive overcoat. He knew the perfect tenants from London who would rent their old house - glamorous PR girl Ginny and almost-famous Piers. Everything was going to be OK.But soon Marcus found himself involved with Liz in a way he'd never intended. Keeping his adulterous trysts secret from Anthea was uncomfortably easy - most of the time her head was firmly buried in Improve your Child's IQ. Meanwhile, as Liz wa s lost in blissful dreams of Marcus, Jonathan was left to run the tutorial college. Neither of them had time to notice that teenage Alice was developing a desperate passion for the tenants, Piers and Ginny. Everyone seemed to be entangled with everyo ne else, in the most awkward possible way. And as events closed in on him, Marcus began to realise that some deceptions are just a bit too close to home.

Fleur is beautiful, unscrupulous, and has a large wardrobe of black designer suits. With the help of "The Times" announcements page she gatecrashes the funerals and memorial services of the wealthy, preying on rich, vulnerable men. She charms her way into their lives and onto their platinum credit cards, takes what she can, and then moves swiftly on. When Richard, a dull but wealthy businessman, meets Fleur at his wife's memorial service, he's bowled over. Gradually Fleur works her spell on Rich ard's family - transforming their lives while she moves in on their wealth. But she finds herself lingering longer than she meant to ...

In 1954, in the cookhouse of a logging and sawmill settlement in northern New Hampshire, a twelve-year-old boy mistakes the local constable's girlfriend for a bear. Both the twelve-year-old and his father become fugitives, pursued by the constable. Their lone protector is a fiercely libertarian logger, once a river driver, who befriends them. In a story spanning five decades, Last Night in Twisted River - John Irving's twelfth novel - depicts the recent half-century in the United States as a world 'where lethal hatreds were generally permitted to run their course.' From the novel's taut opening sentence to its elegiac final chapter, what distinguishes Last Night in Twisted River is the author's unmistakable voice, the inimitable voice of an accomplished storyteller.

A gripping psychological thriller played out in cyberspace, from the bestselling author of Chocolat and The Lollipop Shoes

In 1954, in the cookhouse of a logging and sawmill settlement in northern New Hampshire, a twelve-year-old boy mistakes the local constable's girlfriend for a bear. Both the twelve-year-old and his father become fugitives, pursued by the constable. Their lone protector is a fiercely libertarian logger, once a river driver, who befriends them. In a story spanning five decades, Last Night in Twisted River - John Irving's twelfth novel - depicts the recent half-century in the United States as a world 'where lethal hatreds were generally permitted to run their course.' From the novel's taut opening sentence to its elegiac final chapter, what distinguishes Last Night in Twisted River is the author's unmistakable voice, the inimitable voice of an accomplished storyteller.

Imagine a world where everyone knows everything about everybody. Where what a person 'feels' and 'truly believes' is protected under the law, while what is rational, even provable is condemned as heresy. A world where to question ignorance and intolerance is to commit a Crime against Faith. Imagine it. Or just wait until After The Flood. On a hot Sagittarian morning in the year 56 ATF, Trafford Sewell struggles to work through the usual crowds of near-naked commuters. He is confronted by the intimidating figure of his Parish Confessor. Why has Trafford not been streaming his every moment of sexual intimacy onto the community website like everybody else? Does he think he's different or special in some way? Better than his fellow man and woman? Does he have something to hide? Ben Elton's dark, savagely comic novel imagines a post-apocalyptic society where religious intolerance combines with a confessional sex obsessed, self-centric culture to create a world where nakedness is modesty, ignorance is wisdom and privacy is a dangerous perversion. A chilling vision of what's to come? Or something rather closer to what we call reality?