Roar of the Lambs

· Macmillan Young Listeners · Treguar nga Dara Brown
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14 orë e 43 minuta
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I përshtatshëm
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If you knew the world was ending, who would you save? And would they let you?

Sixteen-year-old Winnie Bray is a liar. As the resident psychic at an oddities shop, Winnie truly can see the future. But her customers only want reassurance, and Winnie only wants their money. Favorable fortunes are a fast track to funding her way out of Buffalo, New York for good, after all.

But all of that changes when a vision sends her stalking in the remains of her family home that burned down in a fire 10 years ago. Among the ash and rubble, Winnie finds a box made of bone, untouched by flames and...whispering. At the touch of her finger, the box shows her a vision of death, chaos, and apocalypse, with her and rich kids Apollo and Cyrus Rathbun at the center.

Apollo knows their cousin is up to no good, and with the Rathbun family scattered to the wind, they know Cyrus is aiming to present himself as the new patriarch. Despite an initial attraction, Apollo is reluctant to believe Winnie. But soon it becomes clear that their family histories are intertwined, with the whispering, hungry box at the very center, and more than their lives are on the line. Together, they must discover the origins of the box and stop unforeseen forces from fulfilling the apocalyptic prophecy, or die trying.

From the author of I Feed Her to the Beast and the Beast is Me comes a speculative thriller about the ties that bind us to places and people, perfect for fans of Andrew Joseph White and Tochi Onyebuchi.

A Macmillan Audio production from Henry Holt & Company

Rreth autorit

Jamison Shea (they/them) is an Ignyte-Award winning author of dark fantasy and horror novels. Their first book I Feed Her to the Beast and the Beast Is Me was called "relentlessly gory and almost euphoric in its embrace of the horrific" by NPR. Hailing from Buffalo, New York, and now dwelling in the dark forests of Finland, they drink milk tea and search for eldritch horrors in uncanny places when they are not writing.

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