The unblinking story of two lost and self-destructive drifters - a failed painter working as a counterman in a cheap diner and a woman in flight from domestic violence - trying to find a place for themselves in the back streets of San Francisco, Pick-Up is hardboiled writing at its nihilistic best.

Larry Dolman is a rather literal-minded ex-cop who now works private security. Eddie Miller is an airline pilot who's studying to get his real estate license. Don Luchessi is a silver salesman who's separated from his wife, but too Catholic to get a divorce. Hank Norton is a drug company rep who gets four times as many dames as any of the other guys. When a friendly bet goes horribly awry, they find themselves with two dead bodies on their hands and a homicidal husband in the wings - and acting more like hardened criminals than upstanding citizens.

This funny, rich, raunchy autobiography re-creates the adventures of a very young soldier in the US Army at the height of the Depression. Charles Willeford was 16 in 1935 when he signed up and was sent to the Philippines. And the Philippines of those days was like a place out of another century. Willeford’s job was to fuel aircraft whose pilots treated him and his buddies almost like slaves. At night, however, he was a lord, fully exploring a great, timeless, and sensual city with a multitude of women available - even on a private’s pay.

Charles Willeford was a man of letters in all senses of the word. Poet, essayist, short story writer, novelist, and raconteur, his early paperback novels with their existential/immobilized heroes were the creations (to paraphrase Chandler) of a man not himself immobilized - a man who, instead, with his trademark black-humored prose, doggedly examined the mind-thrumming banalities of our materially sated but intellectually befuddled postwar world, crafting a body of work that is only now, 50-some years after his first appearance in print, beginning to be widely appreciated.

The Black Mass of Brother Springer tells the story of Sam Springer, a drifter novelist who meets Jack Dover, the retiring Abbot of the Church of God's Flock. Dover's final official act is to ordain Springer and send him off to serve as pastor of an all-Black church in Jacksonville, Florida. Springer soon becomes entangled in the city's growing civil rights movement...and with the church deacon's earthy young wife, Merita.

Fast-talking, backstabbing, womanizing, and fiercely ambitious art critic James Figueras will do anything - blackmail, burglary, and beyond - to make a name for himself. When an unscrupulous collector offers Figueras a career-making chance to interview Jacques Debierue, the greatest living - and most reclusive - artist, the critic must decide how far he will go to become the art-world celebrity he hungers to be. Will Figueras stop at the opportunity to skim some cream for himself or push beyond morality's limits to a bigger payoff?

Academy Award nominee Samuel L. Jackson ( Pulp Fiction, Star Wars films), fresh off the success of his uproarious, Audie-nominated performance of the mock children’s book Go the F**k to Sleep, delivers a swaggering, darkly-humored rendering of Chester Himes’ classic first novel.

The Civil War: A Narrative, Volume 1 begins one of the most remarkable works of history ever fashioned. All the great battles are here, of course, from Bull Run through Shiloh, the Seven Days Battles, and Antietam, but so are the smaller ones: Ball's Bluff, Fort Donelson, Pea Ridge, Island Ten, New Orleans, and Monitor versus Merrimac.

Lisey lost her husband, Scott, two years ago, after a 25-year marriage of profound and sometimes frightening intimacy. Scott was an award-winning, best-selling novelist and a very complicated man. Early in their relationship, before they married, Lisey knew there was a place Scott went - a place that both terrified and healed him, could eat him alive or give him the ideas he needed in order to live. Now it’s Lisey’s turn to face Scott’s demons, to go to that terrifying place known as Boo’ya Moon.

Three critically acclaimed recordings are joined together in this dazzling Agatha Christie Triple Bill, read by award-winning narrators Alison Larkin and James Warwick, star of the Partners in Crime TV series on Masterpiece Theater.

Two little girls stand with their heads bowed in my living room. I’m told they’re my granddaughters. Daisy is nine, and Alice seven. Daisy is the spitting image of her mother. This is the first time I’ve met them since my daughter and I fell out after she married that waste of space, Vince. They’ve come to live with me because their mother — my daughter — was murdered. In her own home while they slept close by. I think Vince killed her. But the police can’t prove it. I’ve always known he was no good. He treated my daughter like dirt. I said he’d cheat on her — but she wouldn’t listen.

Lowen Ashleigh is a struggling writer on the brink of financial ruin when she accepts the job offer of a lifetime. Jeremy Crawford, husband of best-selling author Verity Crawford, has hired Lowen to complete the remaining books in a successful series his injured wife is unable to finish. Lowen arrives at the Crawford home, ready to sort through years of Verity's notes and outlines, hoping to find enough material to get her started. What Lowen doesn't expect to uncover in the chaotic office is an unfinished autobiography Verity never intended for anyone to read.

Who is Audrey Hoedemaker? It's a question her sister Maureen has heard more times than she can count, and she doesn't know what the short answer would be. Little sister, troubled teen, backpacker, musical theatre coach, con artist, childcare worker. Murderer. A tragic, traumatic childhood casts a long shadow on the Hoedemaker sisters. Maureen has worked hard to move beyond the violence of the past and build a good, honest life for herself. Audrey, however, just can't seem to do the same, careening from one state of chaos to another.

After the killing of a prominent mob lawyer, NYPD homicide detectives Jacob Jackson and Caitlin Grimes start receive chilling, written “rules” for how to commit the perfect murder. "Rule number one for the perfect murder: Evidence is your enemy. Leave none behind." Jackson (Reid Scott) and Grimes (Cobie Smulders) race to find the killer, setting them on a collision course with the city’s crime underbelly, and a perpetrator who seems happy to toy with them. “Rule number two. No crimes of passion. The perfect murder is always business, never pleasure.”

Kidnappers grabbed Jenna in broad daylight, right in front of her children and their horrified classmates. Her family was issued an insane ransom demand: $25 million in cash and jewels, payable by the end of the school day, otherwise they’ll never see her again. As Jenna’s mother scrambles to gather the money, detectives Mo Butler and George Ortega follow the trail of the kidnappers, which will lead them through a sordid landscape of jealous lovers, broken dreamers, and twisted schemers. But every second counts, and there’s one thing Jenna Wade doesn’t have: very much time.

In this new collection of short stories, vignettes, and autobiographical sketches - many previously unpublished - Charles Willeford, author of Miami Blues and The Burnt Orange Heresy creates a mosaic of the absurdities of life in the 20th century. From a malicious grandmother to prophetic depictions of the power of reality television, with his wry humor and sudden shifts to violence, he seduces, amuses, and repeatedly surprises you.

The unblinking story of two lost and self-destructive drifters - a failed painter working as a counterman in a cheap diner and a woman in flight from domestic violence - trying to find a place for themselves in the back streets of San Francisco, Pick-Up is hardboiled writing at its nihilistic best.

She was leaning against the door. Her smile was a sickly twisted grimace; the sort a prisoner gives a judge when he's asked if he has anything to say before he's sentenced. Russell Haxby is a ruthless used-car salesman obsessed with manipulating and cavorting with married women. In this classic of hard-boiled fiction, Charles Willeford crafts a wry, sardonic tale of hypocrisy, intrigue, and lust set in San Francisco in the early '50s.

I Was Looking for a Street tells the story of the author's childhood and adolescence as an orphan, as he moves from railroad yards to hobo tent cities, to soup kitchens and deserts around Los Angeles and across the United States. The ensuing tale is at once a picaresque adventure through Depression-era America and a portrait of the writer as a young man of seemingly little promise but great spirit.

Larry Dolman is a rather literal-minded ex-cop who now works private security. Eddie Miller is an airline pilot who's studying to get his real estate license. Don Luchessi is a silver salesman who's separated from his wife, but too Catholic to get a divorce. Hank Norton is a drug company rep who gets four times as many dames as any of the other guys. When a friendly bet goes horribly awry, they find themselves with two dead bodies on their hands and a homicidal husband in the wings - and acting more like hardened criminals than upstanding citizens.