Library Journal: This eloquent memoir will be appreciated by anyone interested in cold case investigations and victim advocacy as well as true crime fans. In 1992, novelist Winslow (The Whole World) was a theater major at Carnegie Mellon University in Pennsylvania, when she was raped in her apartment by an unknown assailant. The cold case opened again in 2013, when DNA evidence unexpectedly pointed to serial rapist Arthur Fryar, and a loophole in the statute of limitations allowed him to be prosecuted. Winslow, designated “Jane Doe January” in the court records, begins a diary of her thoughts about the assault, its aftermath, and the preparation for the trial that follows. An active participant in the prosecution taking place across the Atlantic (she lives in England), the author researches the suspect, contacts people involved in the original investigation, and maintains constant correspondence with the prosecutors. It is a long journey of starts and stops, delays, disappointments, and loss. Mostly, it is full of kind, helpful people whose refusal to give up heartens Winslow through the frustrating process. This important chronicle answers the question, does it serve justice to put a man on trial for a 20-year-old crime? For the victim, it absolutely does.
Publishers Weekly: Griep dives into the dystopian genre in this outstanding novel, which challenges preconceptions of the genre. After a plague ravages a once-thriving world, a harsh rivalry emerges between two immune communities: the decaying City, and the idyllic New Charity. Cressyda, a New Charitan fleeing her former life, is caught up in a political struggle when she returns to New Charity in the wake of her father’s mysterious death. Cressyda clashes with her childhood friends, Len and Cas Willis, as she tries to understand the dangerous thrall New Charity is under. Griep’s writing is fresh and intense, imbued with suspense. She excels at the rich imagining of a world where magic, science, and politics intertwine. The spunky heroine is doubtful and questioning, and those who are vital to the oligarchical power structure might also topple it. Most vividly, Griep plumbs questions of what home means, and what it means to have a safe place in the midst of chaos.
Library Journal: A plague has decimated the planet’s population. Former ballerina Cressyda resides in the City, a community of survivors that remains a collapsed ruin compared to New Charity. This society stands strong behind its wall, with a hydroelectric dam that ensures no one from the City can access that water. When Syd learns she has inherited her father’s New Charity ranch, she returns both to the family she left behind years ago and to her then best friend, Casandra. Cas, a seer and acolyte to the Spirit, knows that Syd wants to open the dam for everyone, whatever the cost to New Charity. The two women realize that the dam draws on strange magic that, if tampered with, could be dangerous. Syd must find a way that allows both settlements to survive, despite her unearthing of the depth of New Charity’s corruption—and the facts of her own father’s murder. VERDICT In a story of family and betrayal, community and survival, Griep (Letters to Zell) reimagines a post-apocalyptic Trojan War that brings new life to a classic epic.
In the wake of a devastating plague, two communities emerge as bastions of survival. One is called the City, and its people scrabble for scraps in the wasteland. The other, New Charity, enjoys the bounty of its hydroelectric dam and refuses City denizens so much as a drop of precious water. When City-dweller Cressyda inherits her father’s ranch within New Charity, she becomes intent on opening the dam to all—no matter the cost.
But when Syd reunites with her old best friend, Casandra, a born seer and religious acolyte, she realizes that her plans could destroy the fragile lives they’ve built in order to survive. What’s more, the strange magic securing the dam’s operations could prove deadly if disturbed. Yet when Syd discovers evidence that her father might have been murdered, she is more determined than ever to exact revenge on New Charity’s corrupt.
Pitted against Cas, as well as her own family, Syd must decide how to secure the survival of both settlements without tipping them over the brink to utter annihilation. In this intense and emotional reimagining of the Trojan War epic, two women clash when loyalty, identity, community, and family are all put to the ultimate test.
Magic has a cost. Sarah Beauhall, blacksmith and dragon slayer doesn’t know just how high. Her lover, Katie Cornett, has finally been overwhelmed by this spiraling cost and her spirit is blasted from her body and flung into a world of nightmares and monsters.
As Katie’s coma deepens and her chances of survival fade, Sarah’s spirit must make a journey of its own through a world of crystalline eaters and malevolent spirits who exist only to hunt and to consume.
Night after night Sarah delves beyond the hidden paths, going from crystalline landscapes into the wild lands and lost worlds far beyond the great sea of dreams.
When the spirit of a long dead murderer—known only as the Bowler Hat man—begins gathering an army in the forgotten lands, Sarah discovers that more than eaters and feeders pursue her.
Publishers Weekly: With remarkable emotional insight and precision, mystery writer Winslow turns to memoir to narrate the long-delayed prosecution of the man who raped her two decades ago….Her story is profoundly troubling, but the legitimate care and consideration of Winslow’s legal support system is powerfully redemptive. Her account bravely illuminates a process many survivors of rape must endure.
Kirkus: Urgently written with forthright prose, the memoir’s serpentine suspense elements resemble the plot points seen in the kind of crime fiction the author writes herself….A potently rendered chronicle of rape and the clarity and closure achieved even when justice is only partially served.
Publishers Weekly: McCammon’s rousing sixth yarn featuring Matthew Corbett (after 2014’s The River of Souls) transports the early 18th-century American problem solver across the Atlantic to London, where he’s clapped into hellish Newgate Prison on murder charges. Matthew quickly becomes embroiled in mysteries involving fellow inmate Daniel Defoe; a gin-running street gang, the Black-Eyed Broodies; a kidnapped Italian opera singer; and a masked avenger named Albion, whose exploits are sensationalized (along with Matthew’s) in a penny dreadful broadsheet, the Pin—all the while with Matthew’s patron, Hudson Greathouse, and Matthew’s sweetheart, Berry Grigsby, in hot pursuit. McCammon’s intricate and intersecting subplots keep the story twisting unpredictably, and he adds menace to the mayhem with hellish descriptions of London straight out of a Hogarth engraving: all bawds and brutes a-wallow in the squalor of the city’s seamy street life. Fans of the series will race through this hefty page-turner to see where Matthew’s latest adventure leads him.
Emily Winslow’s STILL LIFE, her fourth crime novel set in Cambridge England, in which new evidence comes to light on the cold case of Annalise Wood, a teenage girl who went missing 40 years ago, and the three present day women whose lives are thrown together because of it: one who claims to be Annalise’s secret daughter, another who has adopted her imagined suffering, and the psychologist who treats them both and knows more about the case than she can share with the police, plus the author’s three previous crime novels, to Deb Brody at William Morrow, by Cameron McClure.
German rights to Robert McCammon’s SPEAKS THE NIGHTBIRD, Book 1 of the Matthew Corbett series, to Luzifer, by Franka Zastrow at Thomas Schlueck Agency in association with Katie Shea Boutillier, on behalf of Cameron McClure.
Japanese rights for Elizabeth Bear’s KAREN MEMORY to Tokyo Sogensha by Kohei Hattori at The English Agency (Japan) in association with Jennifer Jackson and Michael Curry.
Italian rights to Marieke Nijkamp’s THIS IS WHERE IT ENDS, to Newton Compton, by Stefania Fietta atSilvia Donzelli Agency in association with Katie Shea Boutillier on behalf of Jennifer Udden.
French rights to Emma Newman’s PLANETFALL, to J’ai Lu, by David Camus at Anna Jarota Agency, in association with Katie Shea Boutillier on behalf of Jennifer Udden.
Spanish rights to Marieke Nijkamp’s THIS IS WHERE IT ENDS, to Libros de seda, by Jennifer Hoge at International Editors’ in association with Katie Shea Boutillier on behalf of Jennifer Udden.
German rights to Adam Christopher’s MADE TO KILL, to Papierverzierer, by Julia Aumuller at Thomas Schlueck Agency, in association with Katie Shea Boutillier on behalf of Stacia Decker.