Dr. Dylan Reinhart and Detective Elizabeth Needham reunite to stop the most sinister plot against New York City since 9/11. The murder of an Ivy League professor pulls Dr. Dylan Reinhart out of his ivory tower and onto the streets of New York, where he reunites with his old partner, Detective Elizabeth Needham. As the worst act of terror since 9/11 strikes the city, a name on the casualty list rocks Dylan's world. Is his secret past about to be brought to light? As the terrorist attack unfolds, Elizabeth Needham does something courageous that thrusts her into the media spotlight. She's a reluctant hero. And thanks to the attention, she also becomes a prime target for the ruthless murderer behind the attack. Dylan literally wrote the book on the psychology of murder, and he and Elizabeth have solved cases that have baffled conventional detectives. But the sociopath they're facing this time is the opposite of a textbook case. There's no time to study for the test he's about to give them. And if they fail, they die.

Since the death of her husband, Anne Dunne and her three children have struggled in every way. In a last ditch effort to save the family, Anne plans an elaborate sailing vacation to bring everyone together once again. But only an hour out of port, everything is going wrong. The teenage daughter, Carrie, is planning to drown herself. The teenage son, Mark, is high on drugs and ten-year-old Ernie is nearly catatonic. This is the worst vacation ever.
Anne manages to pull things together bit by bit, but just as they begin feeling like a family again, something catastrophic happens. Survival may be the least of their concerns.
Written with the blistering pace and shocking twists that only James Patterson can master, SAIL takes "Lost" and "Survivor" to a new level of terror.""

Imagine for a moment that J.K. Rowling, while writing the seventh book in the Harry Potter series, said to herself, “Fuck it,” and actively chose to undermine everything about her creation that had earned her millions of fans (and dollars) in the pages of that final tome. Think about how differently the fifth season of AMC’s Breaking Bad would have been had Vince Gilligan decided to redeem and ultimately save Walter White despite the character’s no-turning-back transition “from Mr. Chips to Scarface.” Or ponder, if you will, what our world would be like had the final season of LOST actually been good, or if Dexter paid for his crimes instead of becoming a lumberjack. What these stories have in common is a creative force at the height of power and popularity who held their fandoms in the palm of their hands, and, with a guaranteed turnout and payday for their efforts one way or the other, chose whether to reward their fanbase with a satisfactory conclusion, or bring it all crashing down around them out of a narcissistic desire to destroy their own creation. I’m a fan of the chaotic creative. Without such unpredictable forces, the arts would never advance. Andy Kaufman never would have blurred and pushed the boundary between the acceptable fiction of TV and the rock-solid foundation of reality. St. Elsewhere‘s final hour, “The Last One”, would never have blown the minds of viewers after 136 episodes by creating the fiction-within-a-fiction of the Tommy Westphall Universe. And, honestly, Loki would be a lot less fun if he always had to play by the rules. These creators are the demigods of their own universes, and they can do with them as they please. Star Wars, however, is neither Rian Johnson‘s nor Disney’s creation, even if Star Wars: The Last Jedi happens to be. That honor belongs to George Lucas … or at least it did until his tinkering with the original trilogy and the substandard performance of the prequel trilogy weakened his foundation before ultimately handing over the Star Wars deed to Disney for $4 billion. That might still sound like a lot, even when compared to the $52.4 billion valuation of Disney’s Fox buyout, but it’s a reminder that Disney rarely makes bad investments. What they do better than anyone is acquire, adapt, and transition existing properties into a form that fits their well-oiled machine. They know that the fandom, which has buoyed Star Wars since Day 1, remains hungry for–perhaps even addicted to–more content. So does it make sense to think that Disney would be all smiles to see Johnson’s The Last Jedi shitting all over the dedicated fandom’s forty-year investment into every conceivable nut and bolt in the Star Wars mythology? No … unless you consider the idea that the Old Fandom (ie Lucas-era fans) is being pruned away like dead limbs to make way for the New Fandom (ie Disney-era fans), an eager bunch who are ready to buy up Porgs and all manner of BB-8, Finn, Rey, Kylo Ren, and Poe merchandise while the foundational fans embarrass themselves with petition tantrums. The burning down of the previous Star Wars mythology to make way for the new one is an ugly, mean-spirited truth beneath the progressive narrative veneer of The Last Jedi, and the decision to do so was every bit as much a financial and marketing decision as it was a creative one. While critics and the New Fandom are busy fellating the creative forces for the forward-thinking story of The Last Jedi that tears down previously established mythology, they’re also blinded by the fact that the Disney machine is playing a grand confidence game, undercutting Lucas’ creation for their modern, more profitable version of Star Wars. The worst part of this grift? We’re eating it up by the handful.

The good
New York's Lombardo's Steak House is famous for three reasons--the menu, the clientele, and now, the gruesome murder of an infamous mob lawyer. Effortlessly, the assassin slips through the police's fingers, and his absence sparks a blaze of accusations about who ordered the hit.
The bad
Seated at a nearby table, reporter Nick Daniels is conducting a once-in-a-lifetime interview with a legendary baseball bad-boy. In the chaos, he accidentally captures a key piece of evidence that lands him in the middle of an all-out war between Italian and Russian mafia forces. NYPD captains, district attorneys, mayoral candidates, media kingpins, and one shockingly beautiful magazine editor are all pushing their own agendas--on both sides of the law.
And the dead
Back off--"or die--"is the clear message Nick receives as he investigates for a story of his own.Heedless, and perhaps in love with his beautiful editor, Nick endures humiliation, threats, violence, and worse in a thriller that overturns every expectation and finishes with the kind of flourish only James Patterson knows.

When FBI agent John O'Hara first meets Nora Sinclair, she seems perfect. She has the career. The charisma. The tantalising sex appeal. The whole extraordinary package - Nora doesn't attract men, she enthrals them. She's worked hard for this life and she will never give it up. But why is the FBI so interested in Miss Sinclair? Mysterious things keep happening to the men in her life. And when Agent O'Hara looks more closely he sees something dangerous in Nora - something that lures him at the same time as it fills him with fear. And the more time he spends with her the less he knows whether he is pursuing justice or his own fatal obsession.

A walk down the aisle, a resort hotel, a drink on the beach...for these unlucky couples, the honeymoon's over.
A newlywed couple steps into the sauna in their deluxe honeymoon suite--and never steps out again. When another couple is killed while boarding their honeymoon flight to Rome, it becomes clear that someone is targeting honeymooners, and it's anyone's guess which happy couple is next on the list.
FBI Agent John O'Hara is deep into solving the case, while Special Agent Sarah Brubaker is hunting another ingenious serial killer, whose victims all have one chilling thing in common.
As wedding hysteria rises to a frightening new level, John and Sarah work ever more closely together in a frantic attempt to decipher the logic behind two rampages. SECOND HONEYMOON is James Patterson's most mesmerizing, most exciting, and most surprising thriller ever.

Fear is just the beginning... Kristin Burns has lived her life by the philosophy, 'don't think, just shoot' - pictures that is. Struggling to make ends meet, she works full time as nanny to the fabulously wealthy Turnbull family, looking after their two children and waiting for her life as a New York fashion photographer to begin. But Kristin has a major distraction: forbidden love. The man of her dreams is almost hers for keeps. Kristin ignores all signs of catastrophe brewing, and she can only dismiss the warnings for so long...

Nothing can prepare Dr. David Remler for the shocking phone call he receives from a patient named Samantha Kent. Stunned and anxious to help, he rushes out into the Manhattan night to keep a bloody act of violence from spinning further out of control.

He knows he is too involved, that hes crossed a line, and that his professional reputation is at stake. But he has no idea what awaits him at his destination...that hes become a pawn in a very deadly game of revenge.

Suddenly the focus of a criminal case that flares into an out-of-control media circus, David has only one shot to clear his name. But first he has to clear up the mystery of his patient, Samantha Kent. Just who is she? And why did she choose to involve David? Little by little, the outlines ofa brilliant plot emergeand, with it, the horrifying power of a single lie...

In this richly textured tale of a mans battle against the mother of all manipulations, the perfect setup is even more diabolical than it looks.

Since the death of her husband, Anne Dunne and her three children have struggled in every way. In a last ditch effort to save the family, Anne plans an elaborate sailing vacation to bring everyone together once again. But only an hour out of port, everything is going wrong. The teenage daughter, Carrie, is planning to drown herself. The teenage son, Mark, is high on drugs and ten-year-old Ernie is nearly catatonic. This is the worst vacation ever.
Anne manages to pull things together bit by bit, but just as they begin feeling like a family again, something catastrophic happens. Survival may be the least of their concerns.
Written with the blistering pace and shocking twists that only James Patterson can master, SAIL takes "Lost" and "Survivor" to a new level of terror.""

The honeymoon is over - now the murders can begin. America*s #1 thriller writer returns with his sexiest, scariest novel ever. James Patterson's explosive new thriller introduces a bride who is beautiful, talented, devoted - and deadly. When a young investment banker dies of baffling causes, FBI agent John O'Hara immediately suspects the only witness, the banker's alluring and mysterious fiancee. Nora Sinclair is a beautiful decorator who expects the best, and will do anything to get it. Agent O'Hara keeps closing in, but the stronger his case, the less he knows whether he's pursuing justice or his own fatal obsession. In a novel so compelling it reads like a collaboration with Alfred Hitchcock, James Patterson unveils surprise after surprise that will keep readers guessing until the last deadly kiss.