#1 NEW YORK TIMES BESTSELLER • THE BLOCKBUSTER JACK REACHER SERIES THAT INSPIRED TWO MAJOR MOTION PICTURES AND THE STREAMING SERIES REACHER “High-powered, intricately wrought suspense.”—Janet Maslin, The New York Times New York City. Two in the morning. A subway car heading uptown. Jack Reacher, plus five other passengers. Four are okay. The fifth isn’t. And if you think Reacher isn’t going to get involved . . . then you don’t know Jack. Susan Mark, the fifth passenger, had a big secret, and her plain little life was being watched in Washington, and California, and Afghanistan—by dozens of people with one thing in common: They’re all lying to Reacher. A little. A lot. Or just enough to get him killed. A race has begun through the streets of Manhattan, a maze crowded with violent, skilled soldiers on all sides of a shadow war. For Jack Reacher, a man who trusts no one and likes it that way, the finish line comes when you finally get face-to-face and look your worst enemy in the eye. “Propulsive . . . [Child is] an expert at ratcheting up tension.”—Los Angeles Times “Hold on tight. . . . This novel will give you whiplash as you rabidly turn pages. . . . May be [Lee Child’s] best.”—USA Today

“A galvanizing exposé” of America’s trash problem from plastic in the ocean to “wasteful packaging, bogus recycling, and flawed landfills and incinerators” (Booklist, starred review). Eat a take-out meal, buy a pair of shoes, or read a newspaper, and you’re soon faced with a bewildering amount of garbage. The United States is the planet’s number-one producer of trash. Each American throws out 4.5 pounds daily. But garbage is also a global problem. Today, the Pacific Ocean contains six times more plastic waste than zooplankton. How did we end up with this much rubbish, and where does it all go? Journalist and filmmaker Heather Rogers answers these questions by taking readers on a grisly and fascinating tour through the underworld of garbage. Gone Tomorrow excavates the history of rubbish handling from the nineteenth century to the present, pinpointing the roots of today’s waste-addicted society. With a “lively authorial voice,” Rogers draws connections between modern industrial production, consumer culture, and our throwaway lifestyle (New York Press). She also investigates the politics of recycling and the export of trash to poor countries, while offering a potent argument for change. “A clear-thinking and peppery writer, Rogers presents a galvanizing exposé of how we became the planet’s trash monsters. . . . [Gone Tomorrow] details everything that is wrong with today’s wasteful packaging, bogus recycling, and flawed landfills and incinerators. . . . Rogers exhibits black-belt precision.” —Booklist, starred review

“A sharply observed yet tender novel of academic life and its many sand traps” from the acclaimed author of Eddie and the Cruisers (The New York Times). One of NPR’s Best Books of 2008 Kluge’s brilliant novel tells of George Canaris, a writing professor who is on the verge of forced retirement at a small college in Ohio when he is killed by a hit-and-run driver. Kluge’s creation of Canaris as the first faculty member in half a century whose death merits an obituary in the New York Times is right on the money. A writer, a critic, a professor, a campus legend and a national figure, the very embodiment of the liberal arts, the fictional Times obituary said. And a mystery. Canaris, hero and anti-hero, was the author of two well-received novels and a book of essays, all published more than thirty years ago. Taken together, they were the beginnings of an impressive shelf to which, in all his years in Ohio, he added nothing. With a book listed among the 100 greatest novels of all time, decades separating Canaris from the hefty advance taken on his next book The Beast, which was to be his masterpiece and not a page to show of it, Canaris is a great fictional creation—an enigma. Inevitably, speculation grows that the book was a myth, a lie, a joke. Upon his death, Mark May, a young English professor who barely knew him finds himself named as Canaris’s literary executor—executor of what is unclear. Thus begins a search through lives and letters that is at once gripping, hilarious and affirming. “A sparkling new novel, witty and astute.” —Entertainment Weekly

Footloose and broke, the unnamed narrator of Gone Tomorrow hops on a plane without asking questions when his director friend offers him a role in an art film set in Colombia. But from the moment he arrives at the airport in Bogotá, only to witness a policeman beat a beggar half to death, it becomes clear that this will not be the story of gritty bohemians triumphing against the odds. The director, Paul Grosvenor, seems more interested in manipulating his cast than in shooting film. The cult star, Irma Irma, is a vamp too bored and boring to draw blood. And the beautiful, nymph-like Michael Simard doesn’t seem to be putting out. Meanwhile, the film’s shady financier is sleeping with his mother, while a serial killer skulks about the area killing tourists. Everything comes to a head when the carnaval celebration begins in nearby Cali. But once the fiesta is over, all that’s left are ghostly memories and the narrator’s insistence on telling the tale. “Unlike the majority of pointedly AIDS-era novels,” writes Dennis Cooper, “Gone Tomorrow is neither an amoral nostalgia fest nor a thinly veiled wake-up call hyping the religion of sobriety. It’s a philosophical work devised by a writer who’s both too intelligent to buy into the notion that a successful future requires the compromise of collective decision and too moral to accept bitterness as the consequence of an adventurous life.”

Snapshots from 40 years on the road-Austin and back

The beginning band has a concert coming up, and Suzanne convinces Katie that she has to look her best for the big night. And that includes a new haircut from Cherrydale's newest - and sparkliest - hair salon. But when the magic wind switcheroos Katie into Suzanne's stylist right before Suzanne's own cut, Katie is left in one hairy situation!

#1 NEW YORK TIMES BESTSELLER • THE BLOCKBUSTER JACK REACHER SERIES THAT INSPIRED TWO MAJOR MOTION PICTURES AND THE STREAMING SERIES REACHER “Explosive and nearly impossible to put down.”—People Two small towns in the middle of nowhere: Hope and Despair. Between them, nothing but twelve miles of empty road. Jack Reacher can’t find a ride, so he walks. All he wants is a cup of coffee. What he gets are four hostile locals, a vagrancy charge, and an order to move on. They’re picking on the wrong guy. Reacher is a hard man. No job, no address, no baggage. Nothing at all, except hardheaded curiosity. What are the secrets that Despair seems so desperate to hide? With just one ally—a mysterious woman cop from Hope—and many enemies, Reacher goes up against a whole town, hunting the rich man at its core, cracking open his terrifying agenda, asking the question: Who has the edge—a man with everything to gain, or a man with nothing to lose?