September 21, 2019 | kasarak
September marks the end of summer and the beginning of fall. As the seasons change, the library continues to keep new large print titles rolling in. Below are just a few of the new titles available to help you stay cozy.
In 1942, the Allies were losing, Germany seemed unstoppable, and every able man in England was on the front lines. To "set Europe ablaze," in the words of Winston Churchill, the Special Operations Executive (SOE) was forced to do something unprecedented: recruit women as spies. Thirty-nine answered the call, leaving their lives and families to become saboteurs in France.
In D-Day Girls, Sarah Rose draws on recently declassified files, diaries, and oral histories to tell the thrilling story of three of these remarkable women. There's Andrée Borrel, a scrappy and streetwise Parisian who blew up power lines with the Gestapo hot on her heels; Odette Sansom, an unhappily married suburban mother who saw the SOE as her ticket out of domestic life and into a meaningful adventure; and Lise de Baissac, a fiercely independent member of French colonial high society and the SOE's unflappable "queen." Together, they destroyed train lines, ambushed Nazis, plotted prison breaks, and gathered crucial intelligence--laying the groundwork for the D-Day invasion that proved to be the turning point in the war.
Rigorously researched and written with razor-sharp wit, D-Day Girls is an inspiring story for our own moment of resistance: a reminder of what courage--and the energy of politically animated women--can accomplish when the stakes seem incalculably high.
More than fifteen years after the events of The Handmaid's Tale, the theocratic regime of the Republic of Gilead maintains its grip on power, but there are signs it is beginning to rot from within. At this crucial moment, the lives of three radically different women converge, with potentially explosive results.
Two have grown up as part of the first generation to come of age in the new order. The testimonies of these two young women are joined by a third voice: a woman who wields power through the ruthless accumulation and deployment of secrets.
As Atwood unfolds The Testaments, she opens up the innermost workings of Gilead as each woman is forced to come to terms with who she is, and how far she will go for what she believes.
Decker is visiting his hometown of Burlington, Ohio, when he's approached by a man named Meryl Hawkins. Hawkins is a convicted murderer. In fact, he's the very first killer Decker ever put behind bars. But he's innocent, he claims. Now suffering from terminal cancer, it's his dying wish that Decker clear his name.
It's unthinkable. The case was open and shut, with rock solid forensic evidence. But then Hawkins later turns up dead with a bullet in his head, and even Decker begins to have doubts. Is it possible that he really did get it wrong, all those years ago?
Decker's determined to uncover the truth, no matter the personal cost. But solving a case this cold may be impossible, especially when it becomes clear that someone doesn't want the old case reopened. Someone who is willing to kill to keep the truth buried, and hide a decades-old secret that may have devastating repercussions....
Claire Weatherly and her beau, police detective Jakob Fisher have been enjoying more time together in lovely Heavenly, PA. With Claire's help, the detective is making slow progress reconnecting with the members of his Amish family that shunned him when he left to pursue a career in law enforcement. Russ Granger, the long-retired police chief who inspired Jakob to become a cop, is back in town and Claire has always wanted to meet him. But not long after he arrives in Heavenly, Russ is murdered. Jakob and Claire soon find that things are not as they seem -- and that Russ may have stumbled into something sinister before he was killed.
FBI agent Drex Easton is relentlessly driven by a single goal: to outmaneuver the conman once known as Weston Graham. Over the past thirty years, Weston has assumed many names and countless disguises, enabling him to lure eight wealthy women out of their fortunes before they disappeared without a trace, their families left without answers and the authorities without clues. The only common trait among the victims: a new man in their life who also vanished, leaving behind no evidence of his existence . . . except for one signature custom.
Drex is convinced that these women have been murdered, and that the man he knows as Weston Graham is the sociopath responsible. But each time Drex gets close to catching him, Weston trades one persona for another and disappears again. Now, for the first time in their long game of cat and mouse, Drex has a suspect in sight.
Attractive and charming, Jasper Ford is recently married to a successful businesswoman many years his junior, Talia Shafer. Drex insinuates himself into their lives, posing as a new neighbor and setting up surveillance on their house. The closer he gets to the couple, the more convinced he becomes that Jasper is the clever, merciless predator he's sought--and that his own attraction to Talia threatens to compromise his purpose and integrity.
This is Drex's one chance to outfox his cunning nemesis before he murders again and eludes justice forever. But first he must determine if the desirable Talia is a heartless accomplice . . . or the next victim.
Lenore Lapp is an Amish schoolteacher in her late twenties still living at home with her parents and grandparents. She thought love had passed her by until she meets Jesse Smucker, a widower with a baby daughter. She quickly falls in love with them both and accepts Jesse's proposal of marriage, but Jesse breaks off their engagement when he realizes he can't marry only for convenience.
Resigned to living single, Lenore throws herself into caring for her elders. While working in her grandmother's garden, she digs up an old jar. Will Lenore find healing for her broken heart and solve long-buried family secrets by reading the note contained inside?
The last place Lana Lee thought she would ever end up is back at her family's restaurant. But after a brutal break-up and a dramatic workplace walk-out, she figures that helping wait tables is her best option for putting her life back together. Even if that means having to put up with her mother, who is dead-set on finding her a husband.
Lana's love life soon becomes yesterday's news once the restaurant's property manager, Mr. Feng, turns up dead--after a delivery of shrimp dumplings from Ho-Lee. But how could this have happened when everyone on staff knew about Mr. Feng's severe, life-threatening shellfish allergy? Now, with the whole restaurant under suspicion for murder and the local media in a feeding frenzy--to say nothing of the gorgeous police detective who keeps turning up for take-out--it's up to Lana tofind out who is behind Feng's killer order. . . before her own number is up.
I am black - and brown too," writes Emily Bernard. "Brown is the body I was born into. Black is the body of the stories I tell." And the storytelling, and the mystery of Bernard's storytelling, of getting to the truth, begins with a stabbing in the gut in a coffee shop in a New England college town. Bernard writes how, when she was a graduate student at Yale, she walked into Koffee?'s on Audubon Street in New Haven, and along with six other people, was randomly attacked by a stranger with a knife ("I remember making the decision not to let the oddness of this stranger bother me,"). "I was not stabbed because I was black," she writes (the attacker was white), "but I have always viewed the violence I survived as a metaphor for the violent encounter that has generally characterized American race relations. There was no connection between us, yet we were suddenly and irreparably bound by a knife, an attachment that cost us both- him, his freedom; me, my wholeness." Bernard explores how that bizarre act of violence set her free and unleashed the storyteller in her ("The equation of writing and regeneration is fundamental to black American experience."). She writes in Black Is the Body how each of the essays goes beyond a narrative of black innocence and white guilt, how each is anchored in a mystery, and how each sets out to discover a new way of telling the truth as the author has lived it. "Blackness is an art, not a science. It is a paradox- intangible and visceral; a situation and a story. It is the thread that connects these essays but its significance as an experience emerges randomly, unpredictably . . . race is the story of my life, and therefore black is the body of this book." And what most interests Bernard is looking at "blackness at its borders, where it meets whiteness in fear and hope, in anguish and love.