The instant New York Times bestselling author of The Writing Retreat “ weaves psychology and mysticism into this strikingly original” (Ana Reyes, New York Times bestselling author) thriller about a social worker who, after coming face-to-face with her dark past, must infiltrate a mysterious wellness center in the deserts of New Mexico. When a catatonic woman shows up at her psychiatric unit, social worker Thea swears that she knows her from somewhere. She’s shocked to discover the patient holds a link to a traumatic time in her own past. Upon regaining lucidity, the patient claims she can’t remember the horrific recent events that caused her brain to shut down. Thea’s at a loss—especially when the patient is ripped away from her as suddenly as she appeared. Determined to find her, Thea follows a trail of clues to a remote center in southwestern New Mexico, where a charismatic couple holds a controversial monthly retreat to uncover attendees’ romantic and sexual issues. Forced to participate in increasingly intimate exercises, Thea finds herself inching closer not only to her missing patient, but also to tantalizing answers about her own harrowing past. However, time is running out, and if she stays for the last session, she too might lose her sanity…and maybe even her life in this “hypnotic fever dream of a book” (Jennifer Fawcett, author of Keep This for Me ). “In The Last Session , Julia Bartz proves why she’s such an invigorating voice in the thriller genre. Her talent for building almost unbearable tension and transforming a familiar setting—in this case, a wellness retreat—into a wild, imaginative hellscape is on vivid display. I’ve finished this deeply unnerving book, but I don’t think it’s finished with me.” -- Megan Collins, author of Cross My Heart and The Family Plot “Darkly satirical and action-packed, The Writing Retreat brings a breath of fresh air to the locked room mystery. . . . The writing is flawless and the plot adeptly woven. An absolutely splendid debut!” -- Wendy Walker, nationally bestselling author of DON'T LOOK FOR ME "The book's pacing—a slow roll of dread and horror—is exceptional . . . A perfect winter night's haunting." ― Kirkus Reviews (starred review) "An audacious psychological thriller debut...Boldly drawn characters complement Bartz’s gleefully twisted plot....Sara Gran fans, take note." ― Publishers Weekly “Stomach-clenchingly thrilling from beginning to end . . . Highly recommended for fans of authors like Ruth Ware and Riley Sager.” ― Booklist (starred review) "Julia Bartz’s shrewd, suspenseful debut takes the typical writer’s anxieties and obsessions and transforms them into a pulse-pounding, impossible to put down thriller. THE WRITING RETREAT is bonkers in the best way, and it left me with a brutal case of author envy." -- Layne Fargo, author of THEY NEVER LEARN "A wild ride into the pressures of publishing that is equal parts nightmare and erotic fantasy as five would-be writers are pulled deeper into the secrets of Blackbriar and its inhabitants. In THE WRITING RETREAT, Julia Bartz captures the hunger to have our stories told and the desperate measures some will take to cut through the noise." -- Jennifer Fawcett, author of BENEATH THE STAIRS "THE WRITING RETREAT is a sexy, thrilling, compulsive mediation on art and competition amongst women who ought to be sisters, only something malignant gets in the way. I couldn't put it down." -- Sarah Langan, award-winning author of GOOD NEIGHBORS Julia Bartz is the New York Times bestselling author of The Last Session and The Writing Retreat , a practicing therapist, and a creative coach. She lives in Brooklyn. Connect with her on social media @JuliaBartz. Chapter 1 1 “Why don’t we draw our greatest fears?” Ace cocked his head as he handed me back the stack of computer paper. “Or is that too dark?” “That’s an idea.” Uncertain, I took my own sheet and set the stack neatly to the side. Was it too dark? I’d been thinking of asking the art therapy group to draw their favorite meal, but knew Ace and Lydia would reject it immediately. I was running out of ideas. There was only so much you could do with crayons, the sole approved materials: blunt, soft, safe. “Don’t ask me about those, honey.” Lydia swept back her gray-streaked mane. She looked like a well-kempt Upper East Sider, incongruous with the sights and sounds of a public hospital’s inpatient psychiatric unit. “That’s a door you really don’t want to open.” “Why not? Come on! You need to face your fears head-on.” Ace spun a red crayon in his fingers. “Right, Dr. Thea? Aren’t you always saying that?” “Ace, you know I’m not a doctor.” I’d told him this multiple times to no avail. My coworker Amani had warned me during his first hospitalization, but being a naïve newbie, just off my two-year social work program, I hadn’t listened. Ace had seemed so friendly, so pleasant . But in addition to manic episodes that caused him to thin