Secrets taken to the grave don't always stay buried.
In "No Time to Die," Jenny is devastated by the recent death of her sister, Liza. Looking for a sense of closure, she secretly signs up for the drama camp where Liza died. Jenny knows that someone here holds the key to what really happened to Liza that night, but if she doesn't find out the truth soon, she may become the next victim.
In "The Deep End of Fear," Kate has tried to bury the horrible memories associated with the Westbrook estate. After her best friend Ashley drowned on the estate, Kate vowed never to return. But now, twelve years later, she is drawn back towards the house and that fatal icy pond. There, Kate still feels Ashley's presence and the past seems to be pulling her back towards Ashley's life-threatening dares.

One of Grossman's three great war novels - alongside Life and Fate and Stalingrad. "A significant, valuable addition to Grossman's small but powerful body of work" WILLIAM BOYD "A remarkable novel that illuminates the terrible realities of Barbarossa and the banal horror of warfare with incomparable understanding and insight" JONATHAN DIMBLEBY "There are always good reasons for reading Grossman, but few times are as resonant as our own" Financial Times "At the heart of his writing lies a tireless humanity and empathy" Telegraph "Grossman combines a journalist's eye with a novelist's empathy" Spectator Set during the catastrophic defeats of the war's first months, it tracks a Red Army regiment that wins a minor victory in eastern Belorussia but fails to exploit this success. A battalion is then entrusted with the task of slowing the German advance, and eventually encircled, before ultimately breaking out and joining with the rest of the Soviet forces. Grossman's descriptions of the natural world - and his characters' relationship to it - are both vivid and unexpected, as are his memorable character sketches: eleven-year-old Lionya is determined to hang on to his toy revolver as he walks a long distance behind German lines; his defiant grandmother slaps a German officer in the face and is shot; Kotenko, a fiercely anti-Soviet peasant who initially welcomes the Germans, hangs himself in despair when they treat him with contempt; and Semion Ignatiev, a womanizer and gifted story-teller, turns out to be the boldest and most resourceful of the rank-and file soldiers. Grossman spent most of the war years close to the front line. But The People Immortal is far from being mere morale-boosting propaganda. On the contrary, as letters included in this volume make clear, it was read as a textbook, and as a work of military education. This edition includes not only the unredacted novel itself, translated here for the first time since 1946, but also a wealth of background material. A heavily redacted English translation of The People Immortal was published in 1946. This current edition is the first that reflects Grossman's original text. Translated from the Russian by Robert and Elizabeth Chandler

By the author of Life and Fate, now a major Radio 4 drama starring Kenneth Branagh. Vasily Grossman is widely recognized as one of the outstanding literary figures of the twentieth century. The short fiction collected here - satire, comedy, tragedy and pure narrative - illustrate the remarkable breadth of his work, and demonstrate all the bold intelligence, delicate irony and extraordinary vividness for which he has become known. In addition to the eleven stories, this volume includes the complete text of 'The Hell of Treblinka', one of the first descriptions of a Nazi extermination camp; a powerful and harrowing piece of journalism written only weeks after the camp was dissolved. Beautifully illuminated by Robert Chandler's introductions and endnotes, with photographs from the family archive, and an Afterword by Grossman's stepson, Fyodor Guber.

Few writers had to confront so many of the last century's mass tragedies as Vasily Grossman. He is likely to be remembered, above all, for the terrifying clarity with which he writes about the Shoah, the Battle of Stalingrad and the Terror Famine in the Ukraine. An Armenian Sketchbook, however, shows us a very different Grossman; it is notable for its warmth, its sense of fun and for the benign humility that is always to be found in his writing. After the 'arrest' - as Grossman always put it - of Life and Fate, Grossman took on the task of editing a literal Russian translation of a lengthy Armenian novel. The novel was of little interest to him, but he was glad of an excuse to travel to Armenia. This is his account of the two months he spent there. It is by far the most personal and intimate of Grossman's works, with an air of absolute spontaneity, as though Grossman is simply chatting to the reader about his impressions of Armenia - its mountains, its ancient churches and its people.

Triple bill of features adapted from classic children's books. In 'The Secret of Moonacre' (2008), based on 'The Little White Horse' by Elizabeth Goudge, Dakota Blue Richards plays Maria Merryweather, a 13-year-old girl who is forced to move in with Sir Benjamin (Ioan Gruffudd), the eccentric uncle she never knew she had, following the death of her father. Uprooted from her London life and transplanted to the ancestral home of Moonacre Manor, Maria finds herself in a mysterious world out of time, populated by strange characters and mythical beasts. It's not long before she discovers that there is an ancient story around the founding of the family estate that will have a profound effect on her destiny. In 'A Little Princess' (1995), based on the novel by Frances Hodgson Burnett, Sara Crewe (Liesel Matthews)'s father goes to war and she is forced to leave her idyllic home in India and enroll at an English girls' school. With the news that her father is lost in battle, Sara is left alone and penniless, but through the power of her imagination she brings the magic and wonder of her Indian existence to the strict regime of Miss Minchin (Eleanor Bron)'s school. In 'The Secret Garden' (1993), also based on a Frances Hodgson Burnett book, young orphan Mary Lennox (Kate Maberly) is sent to stay with her uncle in a forbidding mansion. She not only discovers an invalid cousin she never knew she had but also a secret garden in need of repair.

I could no longer deny what the heat in my cheeks meant when I was around Flynn. I was falling for my sister's boyfriend. There's just something about Flynn. Yes, he's a tall, unbelievably gorgeous, dark-haired football player, but ...he's also sweet and nice and super easy to talk to. It's lucky I'm the photographer for the school paper, because my camera likes Flynn almost as much as I do. Unfortunately for me, so does my sister, and there's no way I can nab Flynn with her in the picture. But could this be the real thing?

'One of the great novels of the 20th century' Observer In April 1942, Hitler and Mussolini plan the huge offensive on the Eastern Front that will culminate in the greatest battle in human history. Hundreds of miles away, Pyotr Vavilov receives his call-up papers and spends a final night with his wife and children in the hut that is his home. As war approaches, the Shaposhnikov family gathers for a meal: despite her age, Alexandra will soon become a refugee; Tolya will enlist in the reserves; Vera, a nurse, will fall in love with a wounded pilot; and Viktor Shtrum will receive a letter from his doomed mother which will haunt him forever. The war will consume the lives of a huge cast of characters - lives which express Grossman's grand themes of the nation and the individual, nature's beauty and war's cruelty, love and separation. For months, Soviet forces are driven back inexorably by the German advance eastward and eventually Stalingrad is all that remains between the invaders and victory. The city stands on a cliff top by the Volga River. The battle for Stalingrad - a maelstrom of violence and firepower - will reduce it to ruins. But it will also be the cradle of a new sense of hope. Stalingrad is a magnificent novel not only of war but of all human life: its subjects are mothers and daughters, husbands and brothers, generals, nurses, political officers, steelworkers, tractor girls. It is tender, epic, and a testament to the power of the human spirit. 'You will not only discover that you love his characters and want to stay with them - that you need them in your life as much as you need your own family and loved ones - but that at the end... you will want to read it again' Daily Telegraph THE PREQUEL TO LIFE AND FATE NOW AVAILABLE IN ENGLISH FOR THE FIRST TIME, STALINGRAD IS A SUNDAY TIMES BESTSELLER AND NOW A MAJOR RADIO 4 DRAMA WINNER OF MODERN LANGUAGE ASSOCIATION "LOIS ROTH AWARD" FOR TRANSLATIONS FROM ANY LANGUAGE

Athletic Jamie isn't sure about spending the summer in the city with her romance-novel-writing mum. But when she meets irresistible Josh, Jamie realizes she could probably use all the romance advice she can get!Lacrosse camp 9 a.m.-noon (can't be late! "Coach" Josh will freak out) Basketball camp 1:00-4:00 (so many screaming kids. . . ) Shopping with Mona 4:30 (finally a break) Date with Andrew 7:30 (he's so perfect. . . isn't he?)

Message from a dead girl...

It's too late to call back. Jenny will never speak to Liza again. But it seems that even from beyond the grave, Liza is begging her sister for help....

They say it's a serial killer. Is it? Jenny can't afford to trust anyone. Now she's here, in Wisteria, anonymously registered at the Chase College theater camp where her sister died. The daughter of a famous theatrical family, Jenny distrusts actors, loathes acting. Yet here in the college's darkened theatre, Liza seems to be speaking to her. Suddenly Jenny is mouthing Liza's last lines, sharing Liza's last days, a drama starring Brian, the stage manager, who seems to follow her everywhere...dangerously attractive Mike...Paul, who was obsessed with Liza...motherly, suffocating assistant director Maggie...and Walker, the director, bristling with hostility and resentment against Liza and Jenny's famous father. Does he suspect Jenny's true identity?

How can anyone know the visions that may be driving Jenny straight into the killer's arms?

Translated from the Russian by Robert & Elizabeth Chandler and Olga Meerson
With notes and an afterword by Robert Chandler and Olga Meerson
In Andrey Platonov's "The Foundation Pit," a team of workers has been given the job of digging the foundation of an immense edifice, a palatial home for the perfect future that, they are convinced, is at hand. But the harder the team works, the deeper they dig, the more things go wrong, and it becomes clear that what is being dug is not a foundation but an immense grave.
"The Foundation Pit" is Platonov's most overtly political book, written in direct response to the staggering brutalities of Stalin's collectivization of Russian agriculture. It is also a literary masterpiece. Seeking to evoke unspeakable realities, Platonov deforms and transforms language in pages that echo both with the alienating doublespeak of power and the stark simplicity of prayer.
This English translation is the first and only one to be based on the definitive edition published by Pushkin House in Moscow. It includes extensive notes and, in an appendix, several striking passages deleted by Platonov. Robert Chandler and Olga Meerson's afterword discusses the historical context and style of Platonov's most haunted and troubling work.

"The Road "brings together short stories, journalism, essays, and letters by Vasily Grossman, the author of "Life and Fate, " providing new insight into the life and work of this extraordinary writer. The stories range from Grossman's first success, "In the Town of Berdichev," a piercing reckoning with the cost of war, to such haunting later works as "Mama," based on the life of a girl who was adopted at the height of the Great Terror by the head of the NKVD and packed off to an orphanage after her father's downfall. The girl grows up struggling with the discovery that the parents she cherishes in memory are part of a collective nightmare that everyone else wishes to forget. "The Road" also includes the complete text of Grossman's harrowing report from Treblinka, one of the first anatomies of the workings of a death camp; "The Sistine Madonna," a reflection on art and atrocity; as well as two heartbreaking letters that Grossman wrote to his mother after her death at the hands of the Nazis and carried with him for the rest of his life.

Meticulously edited and presented by Robert Chandler, "The Road" allows us to see one of the great figures of twentieth-century literature discovering his calling both as a writer and as a man.

A New York Review Books Original
"Everything Flows" is Vasily Grossman's final testament, written after the Soviet authorities suppressed his masterpiece, Life and Fate. The main story is simple: released after thirty years in the Soviet camps, Ivan Grigoryevich must struggle to find a place for himself in an unfamiliar world. But in a novel that seeks to take in the whole tragedy of Soviet history, Ivan's story is only one among many. Thus we also hear about Ivan's cousin, Nikolay, a scientist who never let his conscience interfere with his career, and Pinegin, the informer who got Ivan sent to the camps. Then a brilliant short play interrupts the narrative: a series of informers steps forward, each making excuses for the inexcusable things that he did--inexcusable and yet, the informers plead, in Stalinist Russia understandable, almost unavoidable. And at the core of the book, we find the story of Anna Sergeyevna, Ivan's lover, who tells about her eager involvement as an activist in the Terror famine of 1932-33, which led to the deaths of three to five million Ukrainian peasants. Here "Everything Flows" attains an unbearable lucidity comparable to the last cantos of Dante's "Inferno."

A celebrated masterpiece available in its full version in English for the first time. A Soviet Don Quixote from one of the greatest 20th-century prose writers, author of The Foundation Pit and Soul. Translated by Robert Chandler and Elizabeth Chandler

TRANSLATED BY ROBERT AND ELIZABETH CHANDLER AND OLGA MEERSON Platonov's dystopian novel describes the lives of a group of Soviet workers who believe they are laying the foundations for a radiant future. As they work harder and dig deeper, their optimism turns to violence and it becomes clear that what is being dug is not a foundation pit but an immense grave. This new translation, by Robert & Elizabeth Chandler and Olga Meerson, is based on the definitive edition recently published by Pushkin House in Leningrad. All previous translations were done from a seriously bowdlerized text. Robert Chandler is also the translator of Vasily Grossman's Life and Fate. The American scholar Olga Meerson has written extensively on Pushkin, Dostoevsky, Platonov and many other Russian authors.

TRANSLATED AND WITH AN INTRODUCTION BY ROBERT AND ELIZABETH CHANDLER 'For the mind, everthing is in the future' Platonov once wrote; 'for the heart, everything is in the past'. The protagonist of Soul is a young man torn between these opposing desires, sent as a kind of missionary to bring the values of modern Russia to his childhood home town in Central Asia. In this strange, haunting novella, as well as in the seven stories that accompany it, a rediscovered master of twentieth century Russian literature is shown at his wisest and most humane. WITH AN AFTERWORD BY JOHN BERGER

Let Sleeping Ghosts Lie

Twelve years ago Kate's family left the Westbrook estate on a stormy night, just after young Ashley Westbrook drowned in an icy pond. Now kate, alone in the world, has returned to the estate to tutor another spoiled Westbrook child, Patrick. The seven-year-old says he talks to Ashley by the pond. He does dangerous, deadly things because, he says, "Ashley dared me to." Just as Ashley once dared a shy, little Kate twelve years ago.

But at seventeen Kate is not so easily intimidated by "Ashley" or hostile members of her family or the forbidding housekeeper. Then Sam, the handsome stranger to whom kate is irresistibly drawn, reveals a tragic piece of the puzzle that connects him to Kate. Sam tells Kate to leave -- either out of concern for her or due to a festering anger, she's not sure. But kate will not abandon Patrick to the evil that is haunting him and "threatens to destroy them all."