検索キーワード： 制作 "Penguin Audio" 心理学

Jon Keller was on a trip to Switzerland when the world ended. More than anything he wishes he hadn't ignored his wife Nadia's last message. Twenty people remain in Jon's hotel. Far from the nearest city, they wait, they survive. Then one day, the body of a girl is found. It's clear she has been murdered. Which means that someone in the hotel is a killer....

With his face swaddled in bandages, his eyes hidden behind dark glasses and his hands covered even indoors, Griffin—the new guest at The Coach and Horses—is at first assumed to be a shy accident-victim. But the true reason for his disguise is far more chilling: he has developed a process that has made him invisible and is locked in a struggle to discover the antidote. Forced from the village and driven to murder, he seeks the aid of his old friend Kemp. The horror of his fate has affected his mind, however—and when Kemp refuses to help, Griffin resolves to wreak his revenge.

A woman's teenage son takes his own life. It is incomprehensible. The woman is a writer, and so she attempts to comprehend her grief in the space she knows best: on the page, as an imagined conversation with the child she has lost. He is as sharp and funny and serious in death as he was in life, and he will speak back to her, unable to offer explanation or solace but not yet, not quite, gone.

It's one of the most disturbing cases DI Fawley has ever worked. The Christmas holidays, and two children have just been pulled from the wreckage of their burning home in North Oxford. The toddler is dead, and his brother is soon fighting for his life. Why were they left in the house alone? Where is their mother, and why is their father not answering his phone? Then new evidence is discovered, and DI Fawley's worst nightmare comes true. Because this fire wasn't an accident. It was murder.

When talented young writer Nathan Zuckerman makes his pilgrimage to sit at the feet of his hero, the reclusive master of American Literature, E. I. Lonoff, he soon finds himself enmeshed in the great Jewish writer's domestic life, with all its complexity, artifice and drive for artistic truth. As Nathan sits in breathlessly awkward conversation with his idol, a glimpse of a dark-haired beauty through a closing doorway leaves him reeling. He soon learns that the entrancing vision is Amy Bellette, but her position in the Lonoff household - student? mistress? - remains tantalisingly unclear.

Elsa M. Anderson is a classical piano virtuoso. In a flea market in Athens, she watches an enigmatic woman buy two mechanical dancing horses. Is it possible that the woman who is so enchanted with the horses is her living double? Is she also looking for reasons to live? Chasing their doubles across Europe, the two women grapple with their preconceived conceptions of the world and each other, culminating in a final encounter in a fateful summer rainstorm.

Journalist Laura Warren arrives in L.A. to report on a remake of a '90s horror flick. A cursed one, which she happened to star in as a child. When eight of the cast and crew died in ways that eerily mirrored the movie's on-screen deaths, a traumatised Laura left and changed her entire identity. But just as she reaches the set, a man falls from a building right in front of her. It's happening again. This time, Laura is determined to end the curse once and for all. If it doesn't come for her first . . .

Oghi wakes in a hospital bed unable to speak or move. The car accident that killed his wife has left him trapped in his own body and under the control of his mother-in-law, as she grieves the loss of her only child. Isolated from his friends and neglected by his nurse, Oghi’s world shrinks to the room he lies in and his memories of his wife, a sensitive woman who found solace in cultivating her garden. But as Oghi remains alone and paralysed, his mother-in-law is hard at work in the garden, uprooting what her daughter had worked so hard to plant and obsessively digging larger and larger holes.

Olive just wants people to open up. As a radio host, she interviews writers about their works-in-progress, probing for insight; as a friend and a sister, she’s hungry for closeness. She has a habit of recording people without their knowledge, just to hear the world reflected back at her. Olive is approaching her mid-thirties, coddled by her mother and perpetually single, when she meets Theo. He’s a surgeon – he literally cuts people open, which fascinates her – and, with a quick wit and a charming gap between his two front teeth, he seems to adore her.

One misstep at a dinner party and the older man she's been staying with dismisses her with a ride to the train station and a ticket back to the city. With few resources, but a gift for navigating the desires of others, Alex stays on the island. She drifts like a ghost through the gated driveways and sun-blasted dunes of a rarefied world, trailing destruction in her wake. Taut, sensual and impossible to forget, The Guest captures the latent heat and potential danger of a summer that could go either way for a young woman teetering on the edge.

This is Nadia. She is fiercely independent, with an excellent sense of humour and a love of smoking alone on her balcony late at night. This is Saeed. He is sweet and shy and kind to strangers. He also has a balcony but he uses his for stargazing. This is their story: a love story, but also a story about how we live now and how we might live tomorrow.

This is the story of Francis Andrews, a young man whose betrayal of his fellow smugglers has left a man dead. Fearing vengeance, he flees and takes refuge in the house of a young, isolated woman who persuades him to give evidence against his accomplices in court. But neither she nor Andrews is aware that to both criminals and authority, treachery is as great a crime as smuggling.

The stories in The Vanishing Point are both exotic and domestic, their settings ranging from Hawaii to Africa and New England. Each focuses on life’s vanishing points—a moment when seemingly all lines running through one’s life converge, and one can see no farther, yet must deal with the implications. With the insight, subtlety, and empathy that has long characterized his work, Theroux has written deeply moving stories about memory, longing, and the passing of time, reclaiming his status, once again, as a master of the form.

Thea’s third pregnancy was her easiest. She wasn’t consumed with anxiety about the baby. She wasn’t convinced it was going to be born green, or have a third eye, or have tentacles sprouting from its torso. Thea was fine. Her baby would be fine. But when the nurses handed Lucia to her, Thea just knew. Her baby girl was a monster. Not only was Lucia born with a full set of teeth and a devilish glint in her eye, but she’s always hungry. Indiscriminately so.

An Israeli woman relocates to America on assignment from her tech company. In an attempt to leave her past behind and adapt entirely to the new culture in which she finds herself, she joins her colleagues on a deer hunt, discovering a surprising acumen for the sport. She fires again and again, refining her skills with every shot. As she embarks on an affair with her hunting guide and colleague, David, she sinks deeper into hunting season, vacillating between predator and prey as the boundaries between man, woman, work, and nature begin to collapse.

After a steady descent from literary stardom, Lane Warren is back. She’s secured a new book deal based off the life of her sometimes friend and more often rival, notorious free spirit and muse, Gala Margolis. Lane’s only problem is that Gala has been missing for months…nobody can find her. Ten years earlier, Gala was a charming socialite and Lane was a Hollywood outsider amidst the glittering 1960’s LA party scene. Though never best friends, Lane found Gala sharp and compelling. Gala liked that Lane took her seriously. They were both writers. They were drawn to each other.

Nicholas is fifteen when he forgets how to breathe. He had plenty of reason to feel unstable already: He’s been living with his dad in the bleak Chicago suburbs since his Russian-born mom kicked him out. Then one day in geometry class, Nicholas suddenly realizes that his hands are objects. The doctor says it’s just panic, but Nicholas suspects that his real problem might not be a psychiatric one: maybe the Greek god Pan is trapped inside his body.

Two people meet for lunch in a Manhattan restaurant. She’s an accomplished actress in rehearsals for an upcoming premiere. He’s attractive, troubling, young – young enough to be her son. Who is he to her, and who is she to him? In this compulsively addicting, brilliantly constructed novel, two competing narratives unspool, rewriting our understanding of the roles we play every day – partner, parent, creator, muse – and the truths every performance masks, especially from those who think they know us most intimately.

Amid a global pandemic, one young woman is trying to keep the pieces together – of her family, stunned by a devastating loss, and of her mind, left mangled and misfiring from a mystifying disease. She’s afraid of her own floorboards, and “WHAT IS LOVE? BABY DON’T HURT ME” plays over and over in her ears. She hates her friends, or more accurately, she doesn’t know who they are. Has the illness stolen her old mind and given her a new one? Does it mean she’ll get to start over from scratch, a chance afforded to very few people?

Jessica Hagedorn's edgy and entertaining new novel centers on the lives of two women who are neighbors in Manhattan's West Village. Mimi Smith is a filmmaker of low-budget slasher movies in search of new material. Her neighbor Eleanor Delacroix is a legendary writer of erotic fiction, now nearing eighty and addicted to cocaine and gin. Their personal and artistic lives begin to collide in unexpected ways.