In The Old Ways, Robert Macfarlane sets off from his Cambridge home to follow the ancient tracks, holloways, drove-roads, and sea paths that form part of a vast network of routes crisscrossing the British landscape and its waters, and connecting them to the continents beyond. The result is an immersive, enthralling exploration of the ghosts and voices that haunt old paths, of the stories our tracks keep and tell, of pilgrimage and ritual, and of song lines and their singers. Above all this is a book about people and place.

Slough House is Jackson Lamb’s kingdom; a dumping ground for members of the intelligence service who’ve screwed up: left a secret file on a train, blown surveillance, or become drunkenly unreliable. They’re the service’s poor relations – the slow horses – and bitterest among them is River Cartwright, whose days are spent transcribing mobile phone conversations.

Two brothers meet at the remote border of their vast cattle properties under the unrelenting sun of the outback. In an isolated part of Australia, they are each other's nearest neighbour, their homes hours apart. They are at the stockman's grave, a landmark so old that no one can remember who is buried there. But today, the scant shadow it casts was the last hope for their middle brother, Cameron. The Bright family's quiet existence is thrown into grief and anguish. 

Atlanta, 1948. In this city all crime is black and white. On one side of the tracks are the rich white neighbourhoods, on the other Darktown, the African American area guarded by the city's first black police force of only eight men. These cops are kept near powerless by the authorities: they can't arrest white suspects; they can't drive squad cars; they must operate out of a dingy basement. When a poor black woman is killed in Darktown having been last seen in a car with a rich white man, no one seems to care except for Boggs and Smith, two black cops.

The number one Sunday Times best-selling author of The Silence of the Lambs and the creator of Hannibal Lecter, Thomas Harris, returns with his first stand-alone thriller since his debut novel, Black Sunday.