Kirjahaku

Returning to her small home town in Vermont to care for her Alzheimer's patient mother, reserved forty-one-year-old nurse Kate finds herself inadvertently drawn into the murder investigation of a young girl, a case that reminds her of the death of an impoverished childhood friend years earlier. Original. A first novel. 30,000 first printing.

From the author of the acclaimed Promise Not to Tell comes a chilling and perfectly plotted tale in which crimes of the past and present blend in a mesmerizing tale of mystery, shattered innocence, guilt, and redemption On her a way to a job interview, Rhonda never expected to get caught in the middle of a crime. Sitting in her blue Honda at a gas station, she saw a person dressed as a rabbit grab a young girl out of nearby car. Confused by the absurdity of the rabbit costume, Rhonda does nothing at first. By the time she regains her senses, however, the kidnapper and child are gone. Plagued by guilt, she's determined to help with the investigation. But as she gets closer to discovering the kidnapper's identity, she also gets closer to uncovering the truth behind the disappearance of another child--her best friend Lizzy who went missing years before. As Rhonda races to solve the two overlapping mysteries, she rekindles an old romances, learns that people from her past a far different than what they seemed, and ultimately finds liberation. Filled with compelling, realistic characters, twisting supense, and creepy turns that will have readers flying through the pages, Island of Lost Girls is a remarkable display of narrative genius from a stellar new talent.

"An eerie and gripping tale of suspense....A triumph."--Boston GlobeA stunning and chilling thriller from the author of the New York Times bestseller Island of Lost Girls that further burnishes her reputation as "One of the brightest new stars of literary suspense" (Los Angeles Times online). When Henry, Tess, Winnie, and Suz form the Compassionate Dismantlers in college, the first rule of their manifesto is, "To understand the nature of a thing, it must be taken apart." But their penchant for acts of meaningful vandalism and elaborate, often dangerous pranks results in Suz's death in the woods of Vermont--a tragedy the surviving Dismantlers decide to cover up. Nearly a decade later, Henry and Tess are desperate to forget, but their guilt isn't ready to let them go. When a mysterious Dismantler-style postcard drives a past prank victim to suicide, it sets off a chain of terrifying events that threatens to tear apart their world and engulf their inquisitive nine-year-old daughter, Emma. Is there someone who wants to reveal their secrets? Or is it possible Suz has found a way to enact revenge?Full of white-knuckle tension with deeply human characters caught in circumstances beyond their control, Jennifer McMahon's enthralling story proves that she is a master at weaving the fear of the supernatural with the stark realities of life.

"Don't Breathe a Word is a haunting page-turner that kept me up, spine shivering and enthralled, way past my bedtime."--Joshilyn Jackson, author of Never Have I EverOn a soft summer night in Vermont, twelve-year-old Lisa went into the woods behind her house and never came out again. Before she disappeared, she told her little brother, Sam, about a door that led to a magical place where she would meet the King of the Fairies and become his queen.Fifteen years later, Phoebe is in love with Sam, a practical, sensible man who doesn't fear the dark and doesn't have bad dreams--who, in fact, helps Phoebe ignore her own. But suddenly the couple is faced with a series of eerie, unexplained occurrences that challenge Sam's hardheaded, realistic view of the world. As they question their reality, a terrible promise Sam made years ago is revealed--a promise that could destroy them all."Jennifer McMahon never flinches and never fails to surprise...as she] weaves a young couple into a perverse fairyland where Rosemary's Baby could be at home."--Randy Susan Meyers, author of The Murderer's Daughters

"One of the brightest new stars of literary suspense."--Los Angeles TimesNew York Times bestselling author Jennifer McMahon is back with a gut-wrenching mystery about an architect whose troubled mother has been found 25 years after being kidnapped--by a killer who is still on the loose The summer of 1985 changed Reggie's life. Thirteen, awkward, and without a father, she finds herself mixed up with her school's outcasts--Charlie, the local detective's son, and Tara, a goth kid who has a mental hold over Reggie and harbors a dark secret. That same summer a serial killer called Neptune begins kidnapping women. He leaves their severed hands on the police department steps and, five days later, displays their bodies around town. Just when Reggie needs her mother Vera--an ex-model with many "boyfriends" and a thirst for gin--the most, Vera's hand is found on the steps. But after five days, there's no body and Neptune disappears.Now a successful architect who left her hometown behind after that horrific summer, Reggie doesn't trust anyone and lives with few attachments. But when she gets a call from a homeless shelter saying that her mother has been found alive, Reggie must confront the ghosts of her past and find Neptune before he kills again.With her signature style, Jennifer McMahon portrays the dark side of adolescent friendship and introduces characters who haunt the imagination, along with a disturbing web of secrets, betrayals, and murder.

In this book, McMahon argues that a reading of Kant’s body of work in the light of a pragmatist theory of meaning and language (which arguably is a Kantian legacy) leads one to put community reception ahead of individual reception in the order of aesthetic relations. A core premise of the book is that neo-pragmatism draws attention to an otherwise overlooked aspect of Kant’s "Critique of Aesthetic Judgment," and this is the conception of community which it sets forth. While offering an interpretation of Kant’s aesthetic theory, the book focuses on the implications of Kant’s third critique for contemporary art. McMahon draws upon Kant and his legacy in pragmatist theories of meaning and language to argue that aesthetic judgment is a version of moral judgment: a way to cultivate attitudes conducive to community, which plays a pivotal role in the evolution of language, meaning, and knowledge.

The New York Times bestselling author of The Invited will shock you with a simmering psychological thriller about ghostly secrets, dark choices, and the unbreakable bond between mothers and daughters.West Hall, Vermont, has always been a town of strange disappearances and old legends. The most mysterious is that of Sara Harrison Shea, who, in 1908, was found dead in the field behind her house just months after the tragic death of her daughter. Now, in present day, nineteen-year-old Ruthie lives in Sara's farmhouse with her mother, Alice, and her younger sister. Alice has always insisted that they live off the grid, a decision that has weighty consequences when Ruthie wakes up one morning to find that Alice has vanished. In her search for clues, she is startled to find a copy of Sara Harrison Shea's diary hidden beneath the floorboards of her mother's bedroom. As Ruthie gets sucked into the historical mystery, she discovers that she's not the only person looking for someone that they've lost. But she may be the only one who can stop history from repeating itself. A Boston Globe Best Book of the Year

The latest novel from "New York Times" bestselling author Jennifer McMahon ("The Winter People") is an atmospheric, gripping, and suspenseful tale that probes the bond between sisters and the peril of keeping secrets. The Tower Motel was once a thriving attraction of rural Vermont.Today it lies in disrepair, alive only in the memories of the three women Amy, Piper, and Piper s kid sister, Margot who played there as children. They loved exploring the abandoned rooms until the day their innocent games uncovered something dark and twisted that ruined their friendship forever. Now, Amy stands accused of committing a horrific crime, and the only hint to her motives is a hasty message that forces Piper and Margot to revisit the motel s past, and the fate of two sisters who lived there in its heyday. Sylvie Slater had dreams of running off to Hollywood and becoming Alfred Hitchcock s leading lady, while her little sister, Rose, was content with their simple life. Each believed the other to be something truly monstrous, but only one knows the secret that will haunt the generations to come."

INTERNATIONAL THRILLER AWARD-WINNING AUTHOR On the surface, Ashford, Vermont, seems like a quaint New England college town, but to those who live among the shadowy remains of its abandoned mills and factories and beneath its towering steel bridges, it's known as Burntown. Eva Sandeski, who goes by the name Necco on the street, has been a part of Burntown's underworld for years, ever since the night her father, Miles, drowned in a flood that left her and her mother, Lily, homeless. Now, on the run from a man called Snake Eyes, Necco must rely on other Burntown outsiders to survive. As the lives of these misfits intersect, and as the killer from the Sandeski family's past draws ever closer, a story of edge-of-your-seat suspense begins to unfurl with classic Jennifer McMahon twists and turns.

In a quest for a simpler life, Helen and Nate have abandoned the comforts of suburbia to take up residence on forty-four acres of rural land where they will begin the ultimate, aspirational do-it-yourself project: building the house of their dreams. When they discover that this beautiful property has a dark and violent past, Helen, a former history teacher, becomes consumed by the local legend of Hattie Breckenridge, a woman who lived and died there a century ago. With her passion for artefacts, Helen finds special materials to incorporate into the house--a beam from an old schoolroom, bricks from a mill, a mantel from a farmhouse--objects that draw her deeper into the story of Hattie and her descendants, three generations of Breckenridge women, each of whom died suspiciously. As the building project progresses, the house will become a place of menace and unfinished business: a new home, now haunted, that beckons its owners and their neighbours toward unimaginable danger.

In this book, McMahon argues that a reading of Kant’s body of work in the light of a pragmatist theory of meaning and language (which arguably is a Kantian legacy) leads one to put community reception ahead of individual reception in the order of aesthetic relations. A core premise of the book is that neo-pragmatism draws attention to an otherwise overlooked aspect of Kant’s "Critique of Aesthetic Judgment," and this is the conception of community which it sets forth. While offering an interpretation of Kant’s aesthetic theory, the book focuses on the implications of Kant’s third critique for contemporary art. McMahon draws upon Kant and his legacy in pragmatist theories of meaning and language to argue that aesthetic judgment is a version of moral judgment: a way to cultivate attitudes conducive to community, which plays a pivotal role in the evolution of language, meaning, and knowledge.

From the New York Times bestselling author of The Children on the Hill, a psychological thriller "that delivers both chilling scares and genuine emotion" (Chandler Baker, New York Times bestselling author) about a woman who, after taking in her dying, alcoholic mother, begins to suspect demonic possession is haunting her family. Alison has never been a fan of Christmas. But with it right around the corner and her husband busily decorating their cozy Vermont home, she has no choice but to face it. Then she gets the call. Mavis, Alison's estranged mother, has been diagnosed with cancer and has only weeks to live. She wants to spend her remaining days with her daughter's family. But Alison grew up with her mother's alcoholism and violent abuse and is reluctant to unearth these traumatic memories. Still, she eventually agrees to take in Mavis, hoping that she and her mother could finally heal and have the relationship she's always dreamed of. But when mysterious and otherworldly things start happening upon Mavis's arrival, Alison begins to suspect her mother is not quite who she seems. And as the holiday festivities turn into a nightmare, she must confront just how far she is willing to go to protect her family in this "twisty, propulsive, character-driven, and hair-raisingly scary" (Nick Cutter, author of The Troop) novel.

From the New York Times bestselling author of The Children on the Hill, a psychological thriller "that delivers both chilling scares and genuine emotion" (Chandler Baker, New York Times bestselling author) about a woman who, after taking in her dying, alcoholic mother, begins to suspect demonic possession is haunting her family. Alison has never been a fan of Christmas. But with it right around the corner and her husband busily decorating their cozy Vermont home, she has no choice but to face it. Then she gets the call. Mavis, Alison's estranged mother, has been diagnosed with cancer and has only weeks to live. She wants to spend her remaining days with her daughter's family. But Alison grew up with her mother's alcoholism and violent abuse and is reluctant to unearth these traumatic memories. Still, she eventually agrees to take in Mavis, hoping that she and her mother could finally heal and have the relationship she's always dreamed of. But when mysterious and otherworldly things start happening upon Mavis's arrival, Alison begins to suspect her mother is not quite who she seems. And as the holiday festivities turn into a nightmare, she must confront just how far she is willing to go to protect her family in this "twisty, propulsive, character-driven, and hair-raisingly scary" (Nick Cutter, author of The Troop) novel.

A NEW YORK TIMES BEST THRILLER OF 2021 In this "blisteringly suspenseful tale that will keep you up at night" (Wendy Webb, author of Daughters of the Lake), a woman returns to the old family home after her sister mysteriously drowns in its swimming ​pool...but she's not the pool's only victim. Be careful what you wish for. When Jax receives nine missed calls from her older sister, Lexie, she assumes that it's just another one of her sister's episodes. Manic and increasingly out of touch with reality, Lexie has pushed Jax away for over a year. But the next day, Lexie is dead: drowned in the pool at their grandmother's estate. When Jax arrives at the house to go through her sister's things, she learns that Lexie was researching the history of their family and the property. And as she dives deeper into the research herself, she discovers that the land holds a far darker past than she could have ever imagined. In 1929, thirty-seven-year-old newlywed Ethel Monroe hopes desperately for a baby. In an effort to distract her, her husband whisks her away on a trip to Vermont, where a natural spring is showcased by the newest and most modern hotel in the Northeast. Once there, Ethel learns that the water is rumored to grant wishes, never suspecting that the spring takes in equal measure to what it gives. A modern-day ghost story that illuminates how the past, though sometimes forgotten, is never really far behind us, The Drowning Kind "is satisfying on every level: Marvelously chilling, elegantly written, a true page-turner" (Janelle Brown, New York Times bestselling author).

A NEW YORK TIMES BEST THRILLER OF 2021 "A haunting exploration of grief and a tale that will make the hairs on the back of your neck stand up." --Simone St. James, New York Times bestselling author A woman returns to the old family home after her sister mysteriously drowns in its swimming ​pool...but she's not the pool's only victim.Be careful what you wish for. When social worker Jax receives nine missed calls from her older sister, Lexie, she assumes that it's just another one of her sister's episodes. Manic and increasingly out of touch with reality, Lexie has pushed Jax away for over a year. But the next day, Lexie is dead: drowned in the pool at their grandmother's estate. When Jax arrives at the house to go through her sister's things, she learns that Lexie was researching the history of their family and the property. And as she dives deeper into the research herself, she discovers that the land holds a far darker past than she could have ever imagined. In 1929, thirty-seven-year-old newlywed Ethel Monroe hopes desperately for a baby. In an effort to distract her, her husband whisks her away on a trip to Vermont, where a natural spring is showcased by the newest and most modern hotel in the Northeast. Once there, Ethel learns that the water is rumored to grant wishes, never suspecting that the spring takes in equal measure to what it gives. A modern-day ghost story that illuminates how the past, though sometimes forgotten, is never really far behind us, The Drowning Kind "is satisfying on every level: Marvelously chilling, elegantly written, a true page-turner" (Janelle Brown, New York Times bestselling author).

From the New York Times bestselling author of The Drowning Kind comes a genre-defying novel, inspired by Mary Shelley's masterpiece Frankenstein, that brilliantly explores the eerie mysteries of childhood and the evils perpetrated by the monsters among us. 1978: At her renowned treatment center in picturesque Vermont, the brilliant psychiatrist, Dr. Helen Hildreth, is acclaimed for her compassionate work with the mentally ill. But when she's home with her cherished grandchildren, Vi and Eric, she's just Gran--teaching them how to take care of their pets, preparing them home-cooked meals, providing them with care and attention and love. Then one day Gran brings home a child to stay with the family. Iris--silent, hollow-eyed, skittish, and feral--does not behave like a normal girl. Still, Violet is thrilled to have a new playmate. She and Eric invite Iris to join their Monster Club, where they dream up ways to defeat all manner of monsters. Before long, Iris begins to come out of her shell. She and Vi and Eric do everything together: ride their bicycles, go to the drive-in, meet at their clubhouse in secret to hunt monsters. Because, as Vi explains, monsters are everywhere. 2019: Lizzy Shelley, the host of the popular podcast Monsters Among Us, is traveling to Vermont, where a young girl has been abducted, and a monster sighting has the town in an uproar. She's determined to hunt it down, because Lizzy knows better than anyone that monsters are real--and one of them is her very own sister. "A must for psychological thriller fans" (Publishers Weekly, starred review), The Children on the Hill takes us on a breathless journey to face the primal fears that lurk within us all.

From the New York Times bestselling author of The Drowning Kind comes a genre-defying new novel, inspired by Mary Shelley's masterpiece Frankenstein, that brilliantly explores the eerie mysteries of childhood and the evils perpetrated by the monsters among us. 1978: At her renowned treatment center in picturesque Vermont, the brilliant psychiatrist, Dr. Helen Hildreth, is acclaimed for her compassionate work with the mentally ill. But when she's home with her cherished grandchildren, Vi and Eric, she's just Gran--teaching them how to take care of their pets, preparing them home-cooked meals, providing them with care and attention and love. Then one day Gran brings home a child to stay with the family. Iris--silent, hollow-eyed, skittish, and feral--does not behave like a normal girl. Still, Violet is thrilled to have a new playmate. She and Eric invite Iris to join their Monster Club, where they catalogue all kinds of monsters and dream up ways to defeat them. Before long, Iris begins to come out of her shell. She and Vi and Eric do everything together: ride their bicycles, go to the drive-in, meet at their clubhouse in secret to hunt monsters. Because, as Vi explains, monsters are everywhere. 2019: Lizzy Shelley, the host of the popular podcast Monsters Among Us, is traveling to Vermont, where a young girl has been abducted, and a monster sighting has the town in an uproar. She's determined to hunt it down, because Lizzy knows better than anyone that monsters are real--and one of them is her very own sister. A haunting, vividly suspenseful page-turner from the "literary descendant of Shirley Jackson" (Chris Bohjalian, author of The Flight Attendant), The Children on the Hill takes us on a breathless journey to face the primal fears that lurk within us all.

From the New York Times bestselling author of The Drowning Kind comes a genre-defying novel, inspired by Mary Shelley's masterpiece Frankenstein, that brilliantly explores the eerie mysteries of childhood and the evils perpetrated by the monsters among us. 1978: At her renowned treatment center in picturesque Vermont, the brilliant psychiatrist, Dr. Helen Hildreth, is acclaimed for her compassionate work with the mentally ill. But when she's home with her cherished grandchildren, Vi and Eric, she's just Gran--teaching them how to take care of their pets, preparing them home-cooked meals, providing them with care and attention and love. Then one day Gran brings home a child to stay with the family. Iris--silent, hollow-eyed, skittish, and feral--does not behave like a normal girl. Still, Violet is thrilled to have a new playmate. She and Eric invite Iris to join their Monster Club, where they dream up ways to defeat all manner of monsters. Before long, Iris begins to come out of her shell. She and Vi and Eric do everything together: ride their bicycles, go to the drive-in, meet at their clubhouse in secret to hunt monsters. Because, as Vi explains, monsters are everywhere. 2019: Lizzy Shelley, the host of the popular podcast Monsters Among Us, is traveling to Vermont, where a young girl has been abducted, and a monster sighting has the town in an uproar. She's determined to hunt it down, because Lizzy knows better than anyone that monsters are real--and one of them is her very own sister. "A must for psychological thriller fans" (Publishers Weekly, starred review), The Children on the Hill takes us on a breathless journey to face the primal fears that lurk within us all.