_______________ 'In the vein of Agatha Christie herself. Startling' - Irish Times 'Magical in every way ... One of the best novels I've ever read' - Fearne Cotton 'As much a coming-of-age tale as a murder mystery ... An impressive debut' - The Times _______________ AN OBSERVER, i AND NEW YORK TIMES BOOK OF THE YEAR _______________ During the first year of university, a group of friends discover the cost of an extraordinary life in this captivating debut about obsession, rivalry and coming of age Jess Walker, middle child of a middle class family, has perfected the art of vanishing in plain sight. But when she arrives at a concrete university campus under flat, grey, East Anglian skies, her world flares with colour. Drawn into a tightly-knit group of rule breakers – led by their maverick teacher, Lorna Clay – Jess begins to experiment with a new version of herself. But the dynamic between the friends begins to darken as they share secrets, lovers and finally a tragedy. Soon Jess is thrown up against the question she fears most: what is the true cost of an extraordinary life? _______________ 'Hypnotic . . . An uncommonly clever whodunnit' New York Times Book Review 'Deftly plotted with vivid, compelling characters' Jojo Moyes 'One of the standout books of the summer' Stylist

In the City, where the Mayor strives for total control through education, Tack is torn between sympathy for the Truancy, an underground movement determined to bring down the system, and the desire to avenge a death caused by a Truant.

As a new threat arises from outside the walls of the City, the warring Truants and Educators must join forces or be destroyed. The fate of the City is determined at last in this long-awaited conclusion to the Truancy trilogy. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

“A novelistic mosaic that simultaneously reads like a thriller and like a strange, dreamlike excursion into the subconscious.” —The New York Times Years ago, when House of Leaves was first being passed around, it was nothing more than a badly bundled heap of paper, parts of which would occasionally surface on the Internet. No one could have anticipated the small but devoted following this terrifying story would soon command. Starting with an odd assortment of marginalized youth -- musicians, tattoo artists, programmers, strippers, environmentalists, and adrenaline junkies -- the book eventually made its way into the hands of older generations, who not only found themselves in those strangely arranged pages but also discovered a way back into the lives of their estranged children. Now this astonishing novel is made available in book form, complete with the original colored words, vertical footnotes, and second and third appendices. The story remains unchanged, focusing on a young family that moves into a small home on Ash Tree Lane where they discover something is terribly wrong: their house is bigger on the inside than it is on the outside. Of course, neither Pulitzer Prize-winning photojournalist Will Navidson nor his companion Karen Green was prepared to face the consequences of that impossibility, until the day their two little children wandered off and their voices eerily began to return another story -- of creature darkness, of an ever-growing abyss behind a closet door, and of that unholy growl which soon enough would tear through their walls and consume all their dreams.

In grey, 1930s England, Bea has grown up kicking against the conventions of the time, all the while knowing that she will one day have to marry someone her parents choose - someone rich enough to keep the family estate alive. But she longs for so much more - for adventure, excitement, travel, and maybe even romance. When she gets the chance to spend the summer in Italy with her bohemian uncle and his fianc_e, a whole world is opened up to Bea - a world that includes Ben, a cocky young artist who just happens to be infuriatingly handsome too. Sparks fly between the quick-witted pair until one night, under the stars, a challenge is set: can Bea and Ben put aside their teasing and have the perfect summer romance? With their new friends gleefully setting the rules for their fling, Bea and Ben can agree on one thing at least: they absolutely, positively will not, cannot fall in love... A long, hot summer of kisses and mischief unfolds - but storm clouds are gathering across Europe, and home is calling. Every summer has to end - but for Bea, this might be just the beginning.

For a work to be considered African American literature, does it need to focus on black characters or political themes? Must it represent these within a specific stylistic range? Or is it enough for the author to be identified as African American? In Deans and Truants, Gene Andrew Jarrett traces the shifting definitions of African American literature and the authors who wrote beyond those boundaries at the cost of critical dismissal and, at times, obscurity. From the late nineteenth century to the end of the twentieth, de facto deans—critics and authors as different as William Howells, Alain Locke, Richard Wright, and Amiri Baraka—prescribed the shifting parameters of realism and racial subject matter appropriate to authentic African American literature, while truant authors such as Paul Laurence Dunbar, George S. Schuyler, Frank Yerby, and Toni Morrison—perhaps the most celebrated African American author of the twentieth century—wrote literature anomalous to those standards. Jarrett explores the issues at stake when Howells, the "Dean of American Letters," argues in 1896 that only Dunbar's "entirely black verse," written in dialect, "would succeed." Three decades later, Locke, the cultural arbiter of the Harlem Renaissance, stands in contrast to Schuyler, a journalist and novelist who questions the existence of a peculiarly black or "New Negro" art. Next, Wright's 1937 blueprint for African American writing sets the terms of the Chicago Renaissance, but Yerby's version of historical romance approaches race and realism in alternative literary ways. Finally, Deans and Truants measures the gravitational pull of the late 1960s Black Aesthetic in Baraka's editorial silence on Toni Morrison's first and only short story, "Recitatif." Drawing from a wealth of biographical, historical, and literary sources, Deans and Truants describes the changing notions of race, politics, and gender that framed and were framed by the authors and critics of African American culture for more than a century.

Contorting the conventional vampire narrative into a gritty tale of immortality, bloodlust, and rage, The Truants tells the story of the last old-ones.