‘Als ik nu loop tussen de grijze huizen en het groene hek, dan denk ik dat ik vele wegen zag schoner dan deze. Ik mis er tegelijk het ruime van de landweg en het vertrouwelijk beslotene van stadsgrachten. Ik ben niet jong gebleven en de volle jaren hebben mij verwend. Maar zodra de herinnering komt en hare stem en haar beelden, dan weet ik weer hoe hier het pad was tussen mijn hart en dat van de wereld, hoe ik uit zijn gewemel het leven leerde en al mijn verlangens, dromen en vreugden in verscheidene gestalten en vormen daar kwamen en weder vergingen.’ Zo, vol weemoed, begint Aart van der Leeuw zijn boek Kinderland, dat hoe poëtisch en fantastisch ook geschreven, toch voor het grootste deel op de werkelijkheid van zijn eigen jeugd is gebaseerd. De lezer die deze gevoelige dichter en prozaïst, de neoromantische schrijver van Ik en mijn speelman en De kleine Rudolf, heeft leren waarderen en liefhebben, zal om de mens achter de schrijver te leren kennen, ook zijn Kinderland moeten binnengaan.

From Publishers Weekly

At the start of Lee's peculiar and uneasily convincing mix of sex and violence, 40-ish D.C. lawyer Patricia White temporarily leaves her successful practice and her loving husband to console her sister, Judy, after the grisly murder of Judy's brutish husband, Dwayne. Judy lives in Agan's Point, a boondocks Chesapeake Bay town where the sisters grew up. There Patricia relives unhappy memories of her rape years earlier by an unknown assailant and feels unexpected and intense sexual longings for a childhood friend who never left the Point. Eerie and insular squatters and an unscrupulous land developer anxious to eliminate the squatters contribute to the growing mayhem. Lee (City Infernal) throws in some overly convenient supernaturalism toward the end, but if you're still reading by that point, it's a fair bet you won't want to put the book down unfinished. (Dec.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Product Description

Looking for evil is one thing. Finding is another. When Patricia White re-visits her backwoods home, an atrocious secret from her past isn’t the only thing that begins to haunt her. Creepy, erotic, and relentless, THE BACKWOODS delivers up a new kind of horror in a foreboding terrain of reclusive hillfolk, demented murder mysteries, and soul-searing horror. Has the town Patricia calls home really been cursed? No, it’s been blessed. By an unspeakable evil older than sin.

From Publishers Weekly

The prison bludgeoning death of convicted cannibal Jeffrey Dahmer in 1994 is the springboard for this intricate but wildly improbable police procedural. Mere days after Dahmer's burial, Columbus County, Wis., is terrorized by a new cannibal killer whose fingerprints, handwriting and phone voice all match those of the supposedly deceased Dahmer. The press and police are convinced that Dahmer has either faked his death or been resurrected. But Helen Cross, a captain of the Wisconsin State Police Violent Crimes Unit, detects nuances in the crimes that suggest that a copycat with a different m.o. has made a diabolical change in his model's methods. Lee and Steffen demonstrate the same facility for imagining spattery crime scenes that galvanized their previous collaboration, Portrait of the Psychopath as a Young Woman. They are less capable with living flesh and blood. Only Helen, a bundle of instincts and insecurities that intensify when her investigation implicates her lover, medical examiner Tom Drake, has a personality complex enough to match the contrivances of the plot. Her associates and adversaries come across as little more than ghouls or geeks who exist primarily to discuss cutting-edge forensic techniques in numbing clinical detail--none more so than the chortling villain, whose climactic revelations of how he pulled off his crimes read with all the passion of a modern criminology textbook. That's a shame, since the authors come close to making the threat expressed in their lurid tabloid title seem, at least briefly, an eerie possibility. (Oct.)

Copyright 1999 Cahners Business Information, Inc.

Product Description

In November 1994, one of history[HTML_REMOVED]s most diabolical serial-killers is beaten to death by another inmate in the prison where he was serving fifteen consecutive life sentences. Jeffrey Dahmer is dead. Or is he? Two weeks after the madman[HTML_REMOVED]s body is buried, another cannibalistic murder spree begins. Fingerprints, DNA, and modus operandi all link Dahmer to the hideous crimes. Homicide cop Helen Closs is certain it[HTML_REMOVED]s all a hoax or a clever copycat...until the night her own phone rings, and Jeffrey Dahmer himself begins to speak... Dahmer[HTML_REMOVED]s Not Dead is the latest collaborative effort by acclaimed horror novelist Edward Lee and serial-killer expert Elizabeth Steffen. Don[HTML_REMOVED]t expect the same explicit hardcore horror that Edward Lee is so well-known for. Instead, Dahmer[HTML_REMOVED]s Not Dead is a brilliant and technically accurate police-procedural thriller on par with the best crime novelists working today.