Margaret Maron, New York Times bestselling author and Mystery Writers of America Grand Master, returns to Colleton County with an exciting new Deborah Knott mystery . . . LONG UPON THE LAND On a quiet August morning, Judge Deborah Knott's father Kezzie makes a shocking discovery on a remote corner of his farm: the body of a man bludgeoned to death. Investigating this crime, Deborah's husband, Sheriff's Deputy Dwight Bryant, soon uncovers a long-simmering hostility between Kezzie and the slain man over a land dispute. The local newspaper implies that Deborah's family may have had something to do with the murder-and that Dwight is dragging his feet on the case. Meanwhile, Deborah is given a cigarette lighter that once belonged to her mother. The cryptic inscription inside rekindles Deborah's curiosity about her parents' past, and how they met. For years she has wondered how the daughter of a wealthy attorney could have married a widowed, semi-illiterate bootlegger, and this time she's determined to find the answer. But why are Deborah's brothers so reluctant to talk about the dead man? Is the murder linked to Kezzie's illegal whiskey business? And could his courtship of Deborah's mother have something to do with the bad blood between the two families? Despite Deborah's promise not to interfere in Dwight's work, she cannot stop herself from doing everything she can to help clear her brothers and her father from suspicion . . .

Winner of both the Agatha Award for Best Non-Fiction and the Edgar Award for Best Critical/Biographical work.  A real-life detective story, investigating how Agatha Christie and colleagues in a mysterious literary club transformed crime fiction, writing books casting new light on unsolved murders whilst hiding clues to their authors' darkest secrets. This is the first book about the Detection Club, the world's most famous and most mysterious social network of crime writers. Drawing on years of in-depth research, it reveals the astonishing story of how members such as Agatha Christie and Dorothy L. Sayers reinvented detective fiction. Detective stories from the so-called "Golden Age" between the wars are often dismissed as cozily conventional. Nothing could be further from the truth: some explore forensic pathology and shocking serial murders, others delve into police brutality and miscarriages of justice; occasionally the innocent are hanged, or murderers get away scot-free. Their authors faced up to the Slump and the rise of Hitler during years of economic misery and political upheaval, and wrote books agonizing over guilt and innocence, good and evil, and explored whether killing a fellow human being was ever justified. Though the stories included no graphic sex scenes, sexual passions of all kinds seethed just beneath the surface. Attracting feminists, gay and lesbian writers, Socialists and Marxist sympathizers, the Detection Club authors were young, ambitious and at the cutting edge of popular culture -- some had sex lives as bizarre as their mystery plots. Fascinated by real life crimes, they cracked unsolved cases and threw down challenges to Scotland Yard, using their fiction to take revenge on people who hurt them, to conduct covert relationships, and even as an outlet for homicidal fantasy. Their books anticipated not only CSI, Jack Reacher and Gone Girl , but also Lord of the Flies . The Club occupies a unique place in Britain's cultural history, and its influence on storytelling in fiction, film and television throughout the world continues to this day. The Golden Age of Murder rewrites the story of crime fiction with unique authority, transforming our understanding of detective stories and the brilliant but tormented men and women who wrote them.
 

"In the spellbinding and suspenseful Let Me Die in His Footsteps, Edgar Award-winner Lori Roy wrests from a Southern town the secrets of two families touched by an evil that has passed between generations. On a dark Kentucky night in 1952 exactly halfway between her fifteenth and sixteenth birthdays, Annie Holleran crosses into forbidden territory. Everyone knows Hollerans don't go near Baines, not since Joseph Carl was buried two decades before, but, armed with a silver-handled flashlight, Annie runs through her family's lavender fields toward the well on the Baines' place. At the stroke of midnight, she gazes into the water in search of her future. Not finding what she had hoped for, she turns from the well and when the body she sees there in the moonlight is discovered come morning, Annie will have much to explain and a past to account for. It was 1936, and there were seven Baine boys. That year, Annie's aunt, Juna Crowley, with her black eyes and her long blond hair, came of age. Before Juna, Joseph Carl had been the best of all the Baine brothers. But then he looked into Juna's eyes and they made him do things that cost innocent people their lives. Sheriff Irlene Fulkerson saw justice served-or did she? As the lavender harvest approaches and she comes of age as Aunt Juna did in her own time, Annie's dread mounts. Juna will come home now, to finish what she started. If Annie is to save herself, her family, and this small Kentucky town, she must prepare for Juna's return, and the revelation of what really happened all those years ago"--.

The true account of one man's lifelong search for his boarding-school bully Equal parts childhood memoir and literary thriller, Whipping Boy chronicles Allen Kurzweil's search for his twelve-year-old nemesis, a bully named Cesar Augustus. The obsessive inquiry, which spans some forty years, takes Kurzweil all over the world, from a Swiss boarding school (where he endures horrifying cruelty) to the slums of Manila, from the Park Avenue boardroom of the world's largest law firm to a federal prison camp in Southern California. While tracking down his tormentor, the author encounters an improbable cast of characters that includes an elocution teacher with ill-fitting dentures, a gang of faux-royal swindlers, a crime investigator with "paper in his blood," and a monocled grand master of the Knights of Malta. Yet for all its global exoticism and comic exuberance, Kurzweil's riveting account is, at its core, a heartfelt and suspenseful narrative about the "parallel lives" of a victim and his abuser. A scrupulously researched and richly illustrated work of nonfiction that renders a childhood menace into an unlikely muse, Whipping Boy is much more than a tale of karmic retribution; it is a poignant meditation on loss, memory, and mourning, a surreal odyssey born out of suffering, nourished by rancor, tempered by wit, and resolved, unexpectedly, in a breathtaking act of personal courage.