Fiction

When her missing husband is found dead in a car crash far from home, a charismatic actress must find out the truth in this utterly fresh take on the domestic suspense novel.

Sophie is an aspiring British Pakistani actress whose only claim to fame – despite her vast and unscrupulous ambitions – is the unplanned on-camera birth of her son, a clip which has become something of a cult favourite on the Indian B movie scene. Her husband, Tariq, is a pillar of Bradford’s Muslim community and her perfect match, until his sudden disappearance under mysterious circumstances. When a body is found, presumed to be his, but disfigured in a way that makes identification difficult, Sophie is distraught.

Tariq was her ‘third time lucky husband’. Her first, Amir, came out of a childhood sweetheart relationship that couldn’t last, and her rebound marriage to doting Faraz, a recent immigrant to the UK and obsessed with the Royal Family, was even shorter lived. Is Sophie just luckless or is there more to her than meets the eye? And maybe, just maybe, one of her exes has something to do with Tariq’s untimely death. Might one of them be responsible for the threatening letters? Sophie herself is guilty of something, but is murder part of her ambition?

In Sophie, Dar has created a flawed yet hypnotising female lead: a cunning, narcissistic character for fans of Gillian Flynn’s Gone Girl and Oyinkan Braithwaite’s My Sister the Serial Killer. It is just a matter of time before her intricate web of lies begins to draw tighter.

Amateur detective Mallory Viridian’s talent for solving murders ruined her life on Earth and drove her to live on an alien space station, but her problems still follow her in this witty, self-aware novel that puts a speculative spin on murder mysteries, from the Hugo-nominated author of Six Wakes.

From idyllic small towns to claustrophobic urban landscapes, Mallory Viridian is constantly embroiled in murder cases that only she has the insight to solve. But outside of a classic mystery novel, being surrounded by death doesn’t make you a charming amateur detective, it makes you a suspect and a social pariah. So when Mallory gets the opportunity to take refuge on a sentient space station, she thinks she has the solution. Surely the murders will stop if her only company is alien beings. At first her new existence is peacefully quiet…and markedly devoid of homicide.

But when the station agrees to allow additional human guests, Mallory knows the break from her peculiar reality is over. After the first Earth shuttle arrives, and aliens and humans alike begin to die, the station is thrown into peril. Stuck smack-dab in the middle of an extraterrestrial whodunit, and wondering how in the world this keeps happening to her anyway, Mallory has to solve the crime—and fast—or the list of victims could grow to include everyone on board….

Alix Chamberlain is a woman who gets what she wants and has made a living, with her confidence-driven brand, showing other women how to do the same. So she is shocked when her babysitter, Emira Tucker, is confronted while watching the Chamberlains’ toddler one night, walking the aisles of their local high-end supermarket. The store’s security guard, seeing a young black woman out late with a white child, accuses Emira of kidnapping two-year-old Briar. A small crowd gathers, a bystander films everything, and Emira is furious and humiliated. Alix resolves to make things right.

But Emira herself is aimless, broke, and wary of Alix’s desire to help. At twenty-five, she is about to lose her health insurance and has no idea what to do with her life. When the video of Emira unearths someone from Alix’s past, both women find themselves on a crash course that will upend everything they think they know about themselves, and each other.

With empathy and piercing social commentary, Such a Fun Age explores the stickiness of transactional relationships, what it means to make someone “family,” and the complicated reality of being a grown up. It is a searing debut for our times.

It’s November 1991. Nirvana’s in the tape deck, George H. W. Bush is in the White House, and movie-obsessed college student Charlie Jordan is in a car with a man who might be a serial killer.

Josh Baxter, the man behind the wheel, is a virtual stranger to Charlie. They met at the campus ride board, each looking to share the long drive home to Ohio. Both have good reasons for wanting to get away. For Charlie, it’s guilt and grief over the shocking murder of her best friend, who became the third victim of the man known as the Campus Killer. For Josh, it’s to help care for his sick father—or so he says.

The longer she sits in the passenger seat, the more Charlie notices there’s something suspicious about Josh, from the holes in his story about his father to how he doesn’t want her to see inside the trunk. As they travel an empty, twisty highway in the dead of night, an increasingly anxious Charlie begins to think she’s sharing a car with the Campus Killer. Is Josh truly dangerous? Or is Charlie’s jittery mistrust merely a figment of her movie-fueled imagination?

One thing is certain—Charlie has nowhere to run and no way to call for help. Trapped in a terrifying game of cat and mouse played out on pitch-black roads and in neon-lit parking lots, Charlie knows the only way to win is to survive the night.