"In Elly Griffiths's second novel starring Ruth Galloway, the forensic anthropologist, now expecting a child, undertakes a battle of wits with a deadly nemesis . . . Her inner strength as she battles social stigma and the hormonal fluctuations of pregnancy wonderfully complement the starkly wild Norfolk coast of England where Griffiths's novels are set."--"USA Today"
It's only been a few months since forensic archeologist Ruth Galloway found herself entangled in a missing-child case, barely escaping with her life. But when constructions workers demolishing a large old mansion to make way for a new development uncover the bones of a child beneath a doorway--minus its skull--Ruth is once again called upon to investigate. Is it a Roman-era ritual sacrifice, or is the killer closer at hand?
When carbon dating proves that the child's bones predate the home and relate to a time when the house was privately owned, Ruth is drawn more deeply into the case. But as spring turns into summer, it becomes clear that someone is trying very hard to put her off the trail by frightening her, and her unborn child, half to death.
"Delightfully twisted . . . Griffiths is a talented writer and, like its predecessor "The Crossing Places," "The Janus Stone" exhibits her skill at character development and her ability to create a chilling and entirely believable story"--"Richmond Times-Dispatch"

In this classic British mystery starring a sleuth who "has her place in detective fiction as surely as Lord Peter Wimsey or Hercule Poirot," Miss Silver investigates a case of marital murder (Manchester Evening News). Lois has always dreamed of being a Latter. The Latter brothers are both so attractive--nearly as handsome as their stately manor, Latter End. After she spoils her relationship with one brother, Lois succeeds with the other, winning his heart with her good looks and a sizeable fortune from her first marriage. But even after they've wed, she never quite fits in with the family. Still, she hardly expects them to kill her. When the psychic Memnon warns her of murder by poison, Lois laughs it off and so does everyone else, but then, like clockwork, she's dead. The weapon? Poison, of course. Only the brilliant governess-turned-detective Miss Maud Silver can solve this tantalizing case complicated by the bitterness that infests Latter End.

Ironworker Wayne Colson has come to the real estate office where his wife, Carmen, works at the worst possible time: while Ojibway Indian hit man Armand Degas and loose cannon Richie Nix are there to shake down Carmen's boss. Unable to help himself, Wayne steps into harm's way . . . and sends the two malefactors out the door bleeding. Now the shooter-for-hire and his ex-con partner are after the Colsons and there's little the state police and local law enforcement can do about it. The best the feds can offer is the Witness Security Program. So it's coming down to just Wayne and Carmen--and ultimately to Carmen herself--to deal with two rough-trade misfits with murder on their minds.