The Sunday Times top ten bestseller... 'Nobody knew what was going on behind those doors. We were human toys. Just a piece of meat for someone to play with.' Barbara O'Hare was just 12 when she was admitted to the psychiatric hospital, Aston Hall, in 1971. From a troubled home, she'd hoped she would find sanctuary there. But within hours, Barbara was tied down, drugged with sodium amytal - a truth-telling drug - and then abused by its head physician, Dr Kenneth Milner. The terrifying drug experimentation and relentless abuse that lasted throughout her stay damaged her for life. But somehow, Barbara clung on to her inner strength and eventually found herself leading a campaign to demand answers for potentially hundreds of victims. A shocking account of how vulnerable children were preyed upon by the doctor entrusted with their care, and why it must never happen again.

DESCRIPTION: Elmore Leonard meets Franz Kafka in the wild, improbably true story of the legendary outlaw of Budapest. Attila Ambrus was a gentleman thief, a sort of Cary Grant--if only Grant came from Transylvania, was a terrible professional hockey goalkeeper, and preferred women in leopard-skin hot pants. During the 1990s, while playing for the biggest hockey team in Budapest, Ambrus took up bank robbery to make ends meet. Arrayed against him was perhaps the most incompetent team of crime investigators the Eastern Bloc had ever seen: a robbery chief who had learned how to be a detective by watching dubbed Columbo episodes; a forensics man who wore top hat and tails on the job; and a driver so inept he was known only by a Hungarian word that translates to Mound of Ass-Head. BALLAD OF THE WHISKEY ROBBER is the completely bizarre and hysterical story of the crime spree that made a nobody into a somebody, and told a forlorn nation that sometimes the brightest stars come from the blackest holes. Like The Professor and the Madman and The Orchid Thief, Julian Rubinsteins bizarre crime story is so odd and so wicked that it is completely irresistible.

Winner of the 2022 British Academy Prize for Global Cultural Understanding. Novelist Alia Trabucco Zeran has long been fascinated not only with the root causes of violence against women, but by those women who have violently rejected the domestic and passive roles they were meant by their culture to inhabit. Choosing as her subject four iconic homicides perpetrated by Chilean women in the twentieth century, she spent years researching this brilliant work of narrative nonfiction detailing not only the troubling tales of the murders themselves, but the story of how society, the media and men in power reacted to these killings, painting their perpetrators as witches, hysterics, or femmes fatales . . . That is, either evil or out of control. Corina Rojas, Rosa Faundez, Carolina Geel and Teresa Alfaro all committed murder. Their crimes not only led to substantial court decisions, but gave rise to multiple novels, poems, short stories, paintings, plays, songs and films, produced and reproduced throughout the last century. In When Women Kill, we are provided with timelines of events leading up to and following their killings, their apprehension by the authorities, their trials and their representation in the media throughout and following the judicial process. Running in parallel with this often horrifying testimony are the diaries kept by Trabucco Zeran while she worked on her research, addressing the obstacles and dilemmas she encountered as she tackled this discomfiting yet necessary project.

Joe Simpson, with just his partner Simon Yates, tackled the unclimbed West Face of the remote 21,000 foot Siula Grande in the Peruvian Andes in June 1995. But before they reached the summit, disaster struck. A few days later, Simon staggered into Base Camp, exhausted and frostbitten, to tell their non-climbing companion that Joe was dead. For three days he wrestled with guilt as they prepared to return home.

Then a cry in the night took them out with torches, where they found Joe, badly injured, crawling through the snowstorm in a delirium. Far from causing Joe's death, Simon had paradoxically saved his friend's life. What happened, and how they dealt with the psychological traumas that resulted when Simon was forced into the appalling decision to cut the rope, makes not only an epic of survival but a compelling testament of friendship.