In this audacious psychological thriller where nothing is what it seems, a man facing death makes a life-changing choice that puts him—and the people he loves—in serious trouble.
Ted McKay had it all: a beautiful wife, two daughters, a high-paying job. But after being diagnosed with a terminal brain tumor he finds himself with a gun to his temple, ready to pull the trigger. Then the doorbell rings.
A stranger makes him a proposition: why not kill two deserving men before dying? The first target is a criminal, and the second is a man with terminal cancer who, like Ted, wants to die. After executing these kills, Ted will become someone else's next target, like a kind of suicidal daisy chain. Ted understands the stranger's logic: it's easier for a victim's family to deal with a murder than with a suicide.
However, as Ted commits the murders, the crime scenes strike him as odd. The targets know him by name and possess familiar mementos. Even more bizarrely, Ted recognizes locations and men he shouldn't know. As Ted's mind begins to crack, dark secrets from his past seep through the fissures.
Kill the Next One is an immersive psychological thriller from an exciting new voice.
A novel of love, family, and a fight for freedom in Iran featuring a “formidable and hard-to-forget heroine” (Publishers Weekly).
In the early 1920s, in the remote Persian village of Ghamsar, two young people dreaming of a better life fall in love and marry. Sardar brings his bride, Talla, with him across the mountains to the suburbs of Tehran, where the couple settles down and builds a home. From the outskirts of the capital city, they will watch as the Qajar dynasty falls and Reza Khan rises to power as Reza Shah Pahlavi.
Into this family of illiterate shepherds is born Bahram, a boy whose brilliance and intellectual promise are apparent from a very young age. As he grows older, Bahram will become a fervent follower of reformer Mohammad Mosaddegh and will participate firsthand in his country’s political and social upheavals, putting himself in mortal danger, in this prize-winning, “compelling book [that] raises important questions about indulgence, gender, community, and the impact of politics on everydaylife” (Kirkus Reviews).
“Exquisite . . . the narrative evolves from an intimate chronicle of Talla and Sardar’s provincial lives into a sweeping tour through early-20th-century Iran.”—The New York Times
Two events made September 1st a memorable day for Jesse Cullum. First, he lost a pair of Oakley sunglasses. Second, he saved the life of President Ulysses S. Grant.
In the near future of Robert Charles Wilson'sLast Year, the technology exists to open doorways into the past--but not our past, not exactly. Each "past" is effectively an alternate world, identical to ours but only up to the date on which we access it. And a given "past" can only be reached once. After a passageway is open, it's the only road to that particular past; once closed, it can't be reopened.
A passageway has been opened to a version of late 19th-century Ohio. It's been in operation for most of a decade, but it's no secret, on either side of time. A small city has grown up around it to entertain visitors from our time, and many locals earn a good living catering to them. But like all such operations, it has a shelf life; as the "natives" become more sophisticated, their version of the "past" grows less attractive as a destination.
Jesse Cullum is a native. And he knows the passageway will be closing soon. He's fallen in love with a woman from our time, and he means to follow her back--no matter whose secrets he has to expose in order to do it.
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