One August night in 1931, on a secluded mountain ridge overlooking Birmingham, Alabama, three young white women were brutally attacked. The sole survivor, Nell Williams, age eighteen, said a black man had held the women captive for four hours before shooting them and disappearing into the woods. That same night, a reign of terror was unleashed on Birmingham's black community: black businesses were set ablaze, posses of armed white men roamed the streets, and dozens of black men were arrested in the largest manhunt in Jefferson County history. Weeks later, Nell identified Willie Peterson as the attacker who killed her sister Augusta and their friend Jennie Wood. With the exception of being black, Peterson bore little resemblance to the description Nell gave the police. An all-white jury convicted Peterson of murder and sentenced him to death. In Murder on Shades Mountain Melanie S. Morrison tells the gripping and tragic story of the attack and its aftermath—events that shook Birmingham to its core. Having first heard the story from her father—who dated Nell's youngest sister when he was a teenager—Morrison scoured the historical archives and documented the black-led campaigns that sought to overturn Peterson's unjust conviction, spearheaded by the NAACP and the Communist Party. The travesty of justice suffered by Peterson reveals how the judicial system could function as a lynch mob in the Jim Crow South. Murder on Shades Mountain also sheds new light on the struggle for justice in Depression-era Birmingham. This riveting narrative is a testament to the courageous predecessors of present-day movements that demand an end to racial profiling, police brutality, and the criminalization of black men.

In 1939, Melanie Morrison's mother, Eleanor, at age eighteen spent a winter weekend at the home of Lillian Smith on Old Screamer Mountain in North Georgia. Smith was a white Southern author who wrote scathing critiques of white supremacy. That weekend on Old Screamer Mountain was an unforgettable turning point in Eleanor's young life as she and her college friends stayed up late listening to Lillian read from her manuscripts and talk about the shriveled-up heart of whiteness. Seven decades later, in 2012, Melanie made a pilgrimage to the Lillian Smith Center on Old Screamer Mountain to write about the intergenerational legacies of lynching and how that reign of terror remains largely unacknowledged by the descendants of its white perpetrators. From the mountain, Melanie wrote letters to her mother describing the avalanche of emotions and epiphanies she was experiencing. She did not send those letters because Eleanor was living with significant dementia, but she intended to read excerpts to Eleanor when she returned home, hoping to retrieve pieces of her mother's history that dementia had erased. Letters from Old Screamer Mountain is an intimate testimony to the power of intergenerational legacies and the urgency to write what must not be forgotten.

23 Shades of Black is socially conscious crime fiction. It takes place in New York City in the early 1980s, i.e., the Reagan years, and was written partly in response to the reactionary discourse of the time, when the current thirty-year assault on the rights of working people began in earnest, and the divide between rich and poor deepened with the blessing of the political and corporate elites. But it is not a political tract, it’s a kick-ass novel that was nominated for the Edgar and the Anthony Awards, and made Booklist’s Best First Mysteries of the Year. The heroine, Filomena Buscarsela, is an immigrant who experienced tremendous poverty and injustice in her native Ecuador, and who grew up determined to devote her life to helping others. She tells us that she really should have been a priest, but since that avenue was closed to her, she chose to become a cop instead. The problem is that as one of the first Latinas on the NYPD, she is not just a woman in a man’s world, she is a woman of color in a white man’s world. And it’s hell. Filomena is mistreated and betrayed by her fellow officers, which leads her to pursue a case independently in the hopes of being promoted to detective for the Rape Crisis Unit. Along the way, she is required to enforce unjust drug laws that she disagrees with, and to betray her own community (which ostracizes her as a result) in an undercover operation to round up undocumented immigrants. Several scenes are set in the East Village art and punk rock scene of the time, and the murder case eventually turns into an investigation of corporate environmental crime from a working class perspective that is all-too-rare in the genre. And yet this thing is damn funny, too.

The penultimate book in the Carly Moore Series For six months, Carly Moore has been trying to bring down the town patriarch, Bart Drummond. Everyone knows he’s behind a “favor” system that has often ended in murder, but no one has ever been able to prove it. Until now. Carly has a lead that might crack the case wide open but her investigation comes to a screeching halt when someone close to her is killed. Now her only goal is to bring the killer to justice. But the more she digs, the more she can’t help but wonder if the murder is the handiwork of Bart Drummond after all…

Originally published: New York: Ticknor & Fields, 1984.

#1 New York Times bestselling author Christine Feehan reaches new heights of passion and suspense in this thrilling novel that takes readers deep into the California backcountry, where a woman is tormented by visions of a killer. It starts in her dreams. Hideous flashes from a nightmare only she can stop. Images of a murderer stalking the ones she cares about most… Stella Harrison thought she got away from the traumas of her past. Running the Sunrise Lake resort high in the Sierra Nevada mountains has brought her peace, even though she doesn’t truly share her quiet life with anyone. Not even Sam, the hired handyman that notices everything and always seems to know exactly what she needs. Stella doesn’t know anything about Sam’s past, but somehow over the last two years his slow, steady presence has slipped past her defenses. Still, she knows she can’t tell him about her recent premonitions. So far there’s been no murder. No body. No way to prove what’s about to happen without destroying the life she’s built for herself. But a killer is out there. And Stella knows that this time she’ll do whatever it takes to stop him.

When Green Mountain College in Poultney, Vermont, announced that two oxen called Bill and Lou would be killed and turned into hamburgers despite their years of service as unofficial college and town mascots, pattrice jones and her colleagues at nearby VINE Sanctuary offered an alternative scenario: to allow the elderly bovines to retire to the sanctuary. What transpired after this simple offer was a catastrophe of miscommunication, misdirection, and misinterpretations, as the college dug in its heels, activists piled on, and social media erupted. Part true-crime mystery, part on-the-ground reportage, and part sociocultural critique, The Oxen at the Intersection is a brilliant unearthing of the assumptions, preconceptions, and biases that led all concerned with the lives and deaths of these two animals to fail to achieve their ends. How and why the threads of this story unspooled, as jones reveals, raises profound questions—most particularly about how ideas rooted in history, race, gender, region, and speciesism intersect and complicate strategy and activism, and their desired outcomes. In the end, notes jones, we must always ask, Where’s the body?