Move over, Sookie Stackhouse—the witches of Savannah are the new talk of the South. Bold, flirty, and with a touch of darkness, debut author J.D. Horn spins a mesmerizing tale of a family of witches . . . and the problem that can arise from being so powerful. As Charlaine Harris’ series winds down—and as Deborah Harkness’ series heats up—Witching Savannah is new contemporary fantasy that will be sure to enchant new readers.

Mercy Taylor, the youngest member of Savannah’s preeminent witching family, was born without the gift of magic. She is accustomed to coming in a distant second to the minutes older, exquisite and gifted twin she adores. Hopelessly in love with her sister’s boyfriend, she goes to a Hoodoo root doctor for a love spell. A spell that will turn her heart to another man, the best friend who has loved her since childhood.

Aunt Ginny, the family’s matriarch, would not approve. But Mercy has more to worry about than a love triangle when Aunt Ginny is brutally murdered. Ginny was the Taylor family’s high commander in the defense of the bewitched line that separates humankind from the demons who once ruled our realm.

A demon invasion looms now that the line is compromised. Worse yet, some within the witching world stand to gain from a demon takeover. Mercy, entangled in the dark magic of her love spell, fighting for her sister’s trust, and hopelessly without magic, must tap the strength born from being an outcast to protect the line she doesn’t feel a part of...

In this riveting contemporary fantasy, Horn delivers the full betrayal, blood, and familial discord of the best of Southern gothic.

When her television series is abruptly canceled, investigative filmmaker Maggie MacGowen accepts a short-term contract to teach film production at a local community college-an interesting diversion, she thinks, until the next TV gig comes along. But if Maggie expects her sojourn in the ivory tower to be peaceful, she is dead wrong. Instead, she finds herself in the middle of an explosive power struggle. In the current era of budget cuts and fee increases, community college president Park Holloway arouses faculty and student animosity with his expensive building program, especially an admin building derisively nicknamed the Taj Ma'Holloway. When Maggie finds the college president hanging in the building's stairwell, suspicion falls not on her, but on her young friend Sly Miller. A world-class artist, his sculpture was supposed to be hanging in place of the body. That's only the beginning of a twisty plot dealing with the aesthetics and business of art, a billion-dollar art-for-arms deal; political corruption and cronyism; and issues of art forgery and journalistic ethics, all capped off by a stunning denouement.

Dredging up dirty allegations in order to gain the minority vote, a shady politician sets up three police officers, and investigative filmmaker Maggie MacGowen becomes determined to uncover the truth.

Maggie MacGowen, who first appeared in Telling Lies, searches for the murderer of a fourteen-year-old girl named Pisces, and her investigation takes her from the streets of Los Angeles to a posh suburb.

"Deft and moving… Telling Lies is sad, funny, genuinely big-hearted, and rendered with righteous snap." – James Ellroy

Maggie MacGowen is smart, strong, and female-three qualities which add up to the hottest trend in mystery today: the female sleuth. When Maggie's sister Emily is found gunned down in a back alley of L.A.'s Chinatown, Maggie is driven to find the culprit. She soon discovers that the shooting is tied to events some 20 years ago, during Emily's protest days.

Filmmaker Maggie MacGowen learns the hard way that going home again can be deadly. While clearing out her deceased father's desk, Maggie discovers that he had locked away potential evidence in a brutal unsolved murder 30 years earlier. When she begins to ask questions of family and old friends, it emerges that there are people in that seemingly tranquil multi-ethnic Berkeley neighborhood who will go to lethal lengths to prevent the truth from coming out. With the help of her new love, Jean-Paul Bernard, Maggie uncovers secrets about the murdered Vietnamese mother of a good friend and learns how the crime affected – and continues to affect – the still close-knit neighborhood. The more she finds out, the greater the threat of violence becomes, not only for the long-time neighborhood residents, but even for Maggie herself.

No Hero…A woman from his past…A mysterious, sealed letter…A mountain with a deadly reputation…What brings these things together? And will they confirm or deny a man’s assertion that he is no hero? The scene is laid in Switzerland, with a background of piquant hotel gossip, the narrative being in the words of a friend of the boy’s mother who has undertaken the task of disillusionizing the lad. The result is as unconventional as it is unexpected. ‘.’

Since his friend and partner in crime, A. J. Raffles, jumped into the Mediterranean, Bunny Manders has scraped along as best he can. At Raffles’s side, he was witness to, and participant in, the most ingenious burglaries the underworld had ever seen. Without him, Bunny is a struggling ex-convict, so down on his luck that he answers an ad seeking a male nurse and companion for a notoriously rude invalid. But when he lights the old man’s Sullivan cigarette and sees a perfect smoke ring float into the air, Bunny cries out in delight. Raffles is back, and ready for adventure. In the second installment in E. W. Hornung’s crackerjack crime series, England’s greatest jewel thief is up to all of his old tricks and many ingenious new ones—none so spectacular as turning Queen Victoria herself into an accomplice.

Rachel Minchin stands in the dock, accused of murdering the dissolute husband she was preparing to leave. The trial is sensational, and public opinion vehemently and almost universally against her. When the jury astonishes and outrages the world with a vedict of not Guilty, Rachel quickly finds herself in need of protection. It comes in the form of a surprising offer of marriage from a mysterious stranger who has sat through every day of her trial. The marriage to this intriguing stranger, Mr. Steel, is by mutual agreement to be a platonic one, the only condition of which is that neither is ever to question the other about the past. The two travel to Steel’s remote country estate, where Rachel accidentally discovers that her second husband’s past was somehow intertwined with her first husband’s history - but how, exactly, and why he determined to marry her, Steel will not say. As her doubts about her husband increase, local busybodies threaten to unearth Rachel’s own past. And that is the least of the secrets that comes to light as this entertaining mystery unfolds.

Aquesta història està emmarcada en la puritana Nova Anglaterra de principis del segle XVII. La protagonista, Hester Prynne, té un fill al cap de més d’un any de perdre el seu marit en un viatge per mar. Hester es nega a confessar la identitat del pare i la jerarquia puritana la condemna a portar una A, d’adúltera, cosida en tot moment a la roba. Però Roger Chillingworth, el marit de Hester, no ha mort, i s’instal·la d’incògnit a la colònia, amb el propòsit de venjar-se del pare de la criatura.

«La realidad de Hawthorne fue, siempre, el tenue mundo crepuscular, o lunar, de las imaginaciones fantásticas». Jorge Luis Borges.De la mano del joven estudiante Eustace Bright, un grupo de niños se inicia en la mitología griega en una serie de veladas y excursiones que se suceden a lo largo de las distintas estaciones del año. Conocidas historias como las de Perseo y Medusa, el rey Midas, la caja de Pandora, Hércules en el jardín de las Hespérides, Teseo y el Minotauro, o Ulises y Circe, les descubren un mundo perdido y mágico, pero vivo en los secretos y prodigios de la naturaleza.El libro de las maravillas (1852) y Cuentos de Tanglewood (1853) fueron dos de los mayores éxitos de Nathaniel Hawthorne y todavía hoy se cuentan entre las mejores recreaciones del universo colosal y a veces «inextricablemente doloroso» de los antiguos mitos griegos. Siempre con la idea de que «el corazón de un ser humano común y corriente» es «sin duda diez veces más misterioso que el laberinto de Creta», es éste un clásico indiscutible para todas las edades.Esta edición se acompaña de las preciosas ilustraciones en color de Walter Crane (1892) y Virginia Frances Sterret (1921).

Az amerikai klasszikus író másik remekművét, A skarlát betű-t, olvasóink jól ismerik. Nem kisebb élvezettel forgathatják az 1851-ben megjelent A hétormú ház lapjait, melyet az író románcnak, vagyis érzelmes történetnek nevez. A regény Hawthorne talán legszemélyesebb alkotása: az író dédapját, a hírhedt salemi boszorkányperek bíráját, állítólag átok sújtotta, mely végzetes örökségként nehezedett nemzedékről nemzedékre családjára. A hétormú ház az író vezeklése az ősök vétkéért: a nyomasztó bűnrészesség terhe alól való felszabadulás az alkotás, a „kiírás” folyamatában. Katarzis. A történet a rejtelmes sorscsapások után derűs, romantikus szerelemmel idillikusan oldja fel az évszázados átkot. A színhely ugyancsak Salem, a kárhozatos harc hősei és áldozatai pedig Maule boszorkánymester és Pyncheon ezredes utódaiból kerülnek ki.

Hester Prynne-t hűtlenség vádjával elítélik. Tüzes vassal megbélyegzik, a házasságtörés jelét, a vörös A betűt égetik bőrébe. Hester azonban emelt fővel vállalja sorsát, és a kínzások és kiközösítés ellenére sem adja ki szerelmesének nevét. Ám évek múlva a halottnak hitt férj visszalopózik az asszony életébe, és bosszút forralva keresi a titokzatos szeretőt… Nathaniel Hawthorne a XIX. század amerikai irodalmának talán legfontosabb alakja. Első, ám azonnal nagy hatású regénye, A skarlát betű egy házasságtörés rendkívüli története, melyben elemi erővel jelenik meg erkölcs és bűntudat, képmutatás és bosszúvágy, a szélsőséges korszellem és a női akarat kibékíthetetlensége.