Published by Eternal Press.
A serial killer is targeting patients from Dr. Skye Barrie’s psychotherapy practice in New York City. NYPD Detective Diaz wants to keep the case quiet in order to catch the murderer, but when a third patient is found dead, Skye decides to shut down her practice and inform her clients they are in danger. In order to protect her patients, she flies to London with the expectation the murderer will follow. Back in the familiar university town where she studied psychotherapy, can Skye identify the man the London news dub the Tarot Killer before he strikes again?
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A chapter from my work-in-progress is published in Mechanics’ Institute Review: Issue 11 and features work by Hari Kunzru, Alex Preston and Julia Bell. ‘Teeming with life and energy, this compelling collection offers a remarkable range of styles, themes and settings. Beginning with a mushroom arm and ending with an inferno, in between you’ll experience body-piercing in Paris, child prostitution in Korea and a war reporter s last battle, inhabit a drug-fuelled Dublin and an icebound world where voices are trapped in vials.’
Mechanics’ Institute Review: Issue 11 is available from Amazon.
My short story, Tatter’d Weed, was published Birkbeck’s annual short story collection, The Mechanics’ Institute Review: Issue 8, and features work by Chris Adrian, Kevin Barry and Amit Chaudhuri, as well as showcasing the best fiction from Birkbeck’s creative writing students. Unlike other university anthologies, MIR is edited by students, featuring the best of current and past students work and is all about quality writing.
I am pleased to be an editor for this year’s edition of The Mechanics’ Institute Review: Issue 10, which will be published on 26 September 2013. The issue features exciting new work from award-winning authors Evie Wyld, Adam Marek, Colin Grant and Jackie Kay.
‘This compelling collection takes the reader around the globe and leaves lasting impressions, which show what story-telling today is all about. Their distinctiveness and variety eloquently disprove the notion that creative writing programmes produce homogenised writing.’