MATT HILTON – DEAD MEN’S HARVEST

Darina is in denial. Even after all she's been through, the Beautiful Dead can't be real. They must be a figment of her grief-stricken imagination. But visions of Phoenix and Hunter prove otherwise and soon she's drawn back to Foxton, to the barn, to Phoenix - where they have, what may just be, their final reunion. It's the moment they've been dreading - time to solve Phoenix's mystery. Everything has been building to this but Darina knows that revealing the true circumstances of Phoenix's death will lead to their final parting. With this impossible mixture of emotions, Darina begins to unscramble the facts, but she's up against mounting obstacles: the distraction of Hunter's personal mystery, Phoenix's returning father, threats of gang violence and conspiracies to blur and block the truth. With time pressure mounting and the risk of Phoenix being sent back into unending limbo, Darina puts herself in danger, and so the mystery of the Beautiful Dead builds into a heart-breaking climax ...

To avoid fainting keep repeating, It's only a move ..only a movie ..only a movie ..only a movie If you grew up believing that Planet of the Apes told you all you needed to know about politics, that Slade in Flame was a savage exposé of the pop world, and that The Exorcist revealed the meaning of life, then you probably spent far too many of your formative years at the cinema. Just as likely, you soon realised that there was only one career open to you - you'd have to become a film critic. In It's Only a Movie, the incomparable Mark Kermode takes us into the weird world of a life lived in widescreen. Join him as he embarks on a gut-wrenching journey through the former Soviet Union on the trail of the low-budget horror flick Dark Waters, cringe as he's handbagged by Helen Mirren at the BAFTA awards ceremony, cheer as he gets thrown out of the Cannes Film Festival for heckling in very bad French, and don't forget to gasp as he's shot at while interviewing Werner Herzog in the Hollywood Hills. Written with sardonic wit and wry good humour, this compelling cinematic memoir is genuinely 'inspired by real events'.

Kristen Simmons' fast-paced, gripping YA dystopian series continues in Three. Ember Miller and Chase Jennings are ready to stop running. After weeks spent in hiding as two of the Bureau of Reformation's most wanted criminals, they have finally arrived at the safe house, where they hope to live a safe and quiet existence. And all that's left is smoking ruins. Devastated by the demolition of their last hope, Ember and Chase follow the only thing left to them―tracks leading away from the wreckage. The only sign that there may have been survivors. With their high profile, they know they can't stay out in the open for long. They take shelter in the wilderness and amidst the ruins of abandoned cities as they follow the tracks down the coast, eventually finding refugees from the destroyed safe house. Among them is someone from Chase's past―someone he never thought he'd see again. Banding together, they search for a place to hide, aiming for a settlement a few of them have heard about…a settlement that is rumored to house the nebulous organization known as Three. The very group that has provided Ember with a tiny ray of hope ever since she was first forced on the run. Three is responsible for the huge network of underground safe houses and resistance groups across the country. And they may offer Ember her only chance at telling the world her story. At fighting back.

Opar, the lost colony of Atlantis, is hidden deep in the heart of Africa, awash with incredible riches. From this ancient city comes Hadon, an impoverished but ambitious young man who sets out to win the great games of Klakor, and thus become king of the Khokarsan Empire. As his quest for the throne leads him into the wild lands beyond the empire's edge, Hadon finds himself embroiled in a bloody civil war. Featuring a brand-new introduction and afterword by Christopher Paul Carey (Gods of Opar: Tales of Lost Khokarsa)