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- [-] Other Available FormatsOur PriceNew & Used MarketplaceY Is For Yesterday (Hardcover)
Publisher: Marian Wood Books/Putnam$20.17Y Is for Yesterday (Large Print Hardcover)
Publisher: Thorndike Press Large Print$38.99Y Is for Yesterday (Large Print Paperback)
Publisher: Large Print Press$16.00Y Is for Yesterday (Audio Compact Disc - Abridged)
Publisher: Random House Audio Publishing Group$32.00
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ProductsMore About Y Is for Yesterday by Sue Grafton; Judy KayeOverviewOf #1 New York Times-bestselling author Sue Grafton, NPR's Maureen Corrigan said, "Makes me wish there were more than 26 letters." With only one letter left, Grafton's many devoted readers will share that sentiment. The darkest and most disturbing case report from the files of Kinsey Millhone, Y is for Yesterday begins in 1979, when four teenage boys from an elite private school sexually assault a fourteen-year-old classmate--and film the attack. Not long after, the tape goes missing and the suspected thief, a fellow classmate, is murdered. In the investigation that follows, one boy turns state's evidence and two of his peers are convicted. But the ringleader escapes without a trace. Now, it's 1989 and one of the perpetrators, Fritz McCabe, has been released from prison. Moody, unrepentant, and angry, he is a virtual prisoner of his ever-watchful parents--until a copy of the missing tape arrives with a ransom demand. That's when the McCabes call Kinsey Millhone for help. As she is drawn into their family drama, she keeps a watchful eye on Fritz. But he's not the only one being haunted by the past. A vicious sociopath with a grudge against Millhone may be leaving traces of himself for her to find...
- ISBN-13: 9780385393997
- ISBN-10: 0385393997
- Publisher: Random House Audio Publishing Group
- Publish Date: August 2017
- Dimensions: 5.9 x 5 x 1.6 inches
- Shipping Weight: 0.7 pounds
Series: Kinsey Millhone Novel #20
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Audio: "G" is for Grafton
OMG! We’re almost at the end. Y Is for Yesterday is Sue Grafton’s 25th Alphabet mystery, and it’s just as compelling as A is for Alibi was when it was published 35 years ago. That’s when we first met Kinsey Millhone, the smart, spunky, thoroughly competent, just tough-enough female PI who lives and works in fictional Santa Teresa (think Santa Barbara). In the latest go-round, Grafton braids two plots together. The first goes back and forth in time, from “yesterday,” 1979, when a bunch of out-of-control, posh private school teenagers make a sex tape, murder a classmate and get caught, to now, 1989 in Kinsey time, when the youngest is finally out of juvy and being blackmailed. Kinsey, hired by the kid’s mother, is working on this complex case when a serial killer from her past, determined to add her to his morbid tally of murdered women, shows up and does his damnedest. Judy Kaye, who’s become the very voice of Kinsey, narrates as she has for much of the series, lending extra verve to Grafton’s keen attention to detail.
Ready for another unreliable narrator? Meet Cass Tanner, who was just 15 years old when she and her older sister, Emma, disappeared from their home in affluent Connecticut. Then, three years later, Cass returns—alone, unharmed, with a highly explicit story about where the sisters have been and why they left. As Wendy Walker’s doozy of a psychological thriller, Emma in the Night, read by Therese Plummer and Julia Whelan, begins to unfold, you’ll be caught up in Cass’ tale of a remote island in Maine, Emma’s pregnancy and the couple who took them in. Providing a subtle counterpoint are FBI forensic psychiatrist Abby Winter’s doubts. Abby was on the original case when the sisters went missing and has long wanted to look more deeply into Cass and Emma’s seemingly disturbed, dysfunctional family. An expert on narcissistic personality disorder and the daughter of a difficult mother herself, Abby begins to find holes in Cass’ explanation. She’s sure that Judith Martin, the sisters’ maniacally manipulative, needy mother, is at the heart of their problems. Nothing is as it seems, and you’ll root for Cass and for Abby to see it through.
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In The Art of Death: Writing the Final Story, Edwidge Danticat writes about death and grief and mourning with calm intensity and grace, circling around the pain and loss she experienced while her mother was dying of ovarian cancer. She searches through novels, poems and memoirs by writers from Leo Tolstoy to Albert Camus, Toni Morrison, Michael Ondaatje, Zora Neale Hurston, Christopher Hitchens and many more, looking for a way that “might make all of this easier to grasp even though we cannot change the outcome.” Death has echoed through many of Danticat’s books, and her close, insightful reading of the way others have framed unbearable heartbreak seems to bring her, if not comfort, a kind of solace, a glimmer of understanding—“Each death frames previous deaths in a different light, and even deaths to come.” She reads here, making her mother’s final story intimate, immediate and timeless.