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""A dark and stormy night. An isolated cabin in the woods. A runaway child with a mysterious past...Thriller fans, buckle up!"" Jason Rekulak, New York Times bestselling author of The Last One at the Wedding
There's someone at your front door should you let them in? Find out in a riveting new thriller from global sensation and #1 New York Times bestselling author of The Housemaid, Freida McFadden!
Who knows what the storm will blow in
Casey's cabin in the wilderness is not built for a hurricane. Her roof shakes, the lights flicker, and the tree outside her front door sways ominously in the wind. But she's a lot more worried about the girl she discovers lurking outside her kitchen window.
She's young. She's alone. And she's covered in blood.
The girl won't explain where she came from, or loosen her grip on the knife in her right hand. And when Casey makes a disturbing discovery in the middle of the night, things take a turn for the worse.
The girl has a dark secret. One she'll kill to keep. And if Casey gets too close to the truth, she may not live to see the morning.
In this taut, deadly tale of survival and desperation, #1 New York Times bestselling author Freida McFadden explores how far one girl will go to save herself.
1999: At the end of the millennium, the Kim family is struggling to move on after their mother, Sunny, vanished a year ago. Sixty-one-year-old John Kim feels more isolated from his grown children than ever before. One evening, their fragile lives are further upended when John finds the body of an unhoused stranger in the backyard with a letter to Sunny, leaving the family with more questions than ever.
1977: Newly married, Sunny is pregnant and has just moved to Los Angeles from Korea with her hardworking and often-absent husband. America is not turning out the way she had dreamed it to be, and the loneliness and isolation are broken only by a fateful encounter with a veteran at a bus stop. The unexpected connection spans decades and echoes into the familys lives in the present as they uncover devastating secrets that put not only everything they thought they knew about their mother but their very lives at risk.
Both an intricately crafted mystery and a heart-wrenching family saga (Michelle Min Sterling, New York Times bestselling author), set against the backdrop of social unrest and Y2K, What We Kept to Ourselves masterfully explores memory, storytelling, forgiveness, and what it means to dream in America.
When Shad sees movement on the island offshore, he thinks its just a goat. But it turns out to be Simone, an American who has run away from her professional and personal life in the U.S., an intriguing woman who captures Eric's heart. Always keeping his ear to the ground, Shad discovers that a gunshot heard near Simones place late one night isnt exactly friendly fire, rather its tied to a plot to harm Simone and ultimately manipulate local elections. But why does someone want to harm Simone? And what does she have to do with the elections? Only Shad can find out.
An irresistible character is born in The Goat Woman of Largo Bay and Royes wonderfully blends suspense and the soul of the islands in this smart debut.
In Nomenclatures of Invisibility, Shiferraw calls us to carve out space for the multitudes of selves we carry when we migrate across boundaries of body, language, and land. With momentum, giving name to everything in her path from the longing that comes with migration to her beloved eucalyptus tree, she blurs physical and temporal borders, paying homage to ancestors past, present, and future. Shiferraw writes unapologetically against erasure, against invisibility, instead creating a space that holds grief lovingly, that can tend to the wounds held and held in the endlessly-traveling body. Brilliant with abundance and texture, Shiferraws poems dismantle the empire's sterile use of language, both historical and present.
In Nomenclatures of Invisibility, Mahtem Shiferraw builds a home within her poems, attentively naming those who exist within them out of invisibility and into the radiant light: We walk / in unison too: our backs bending at once, / our arms breaking, our abdomens / kicked into silence, thighs bleeding. Through / this I ask; am I still lit? And they, again /what else would you be