Mystery, Murder and Magic… When his nemesis from schoolboy days hires metaphysician Ned Mathey to investigate his father’s murder, Ned turns to his friend and sometime lover, detective Julian Lynes, for help. Together, they must navigate a magical maze of deceit, danger, the pain of their past and, perhaps, a chance at a future together, in an Edwardian London as full of peril as it is with magic. Can they solve the mystery at the heart of the murders that follow on the heels of the first to forge a new kind of partnership or will the pain of the past and society’s disapproval send them off on separate paths? Winner of a Lambda Literary Award for LGBTQ SF/F/Horror.
Set in Regency England, this story finds Beau Brummell in the middle of a murder investigation involving a countess who has been poisoned, allegedly by her paid companion. The Duchess of York, who hired the girl, stands to lose her good name. So she calls in Brummell, who uncovers other suspects.
Secrets, Magic and Murder… The gentleman’s clubs of Scott and Griswold’s Gaslamp fantastical London are full of secrets and the ones that Julian Lynes and Ned Mathey and their circles frequent are even moe hidden than most. Beneath their respectable, or less respectable, façades, they are a haven…or a torment for men who desire each other’s company. Now someone is leaving a trail of murder victims, each one found without a heart. Each one somehow connected to Lynes, Mathey, their friends, their enemies and the communities that they belong to. Finding the murderer could reveal everything, leading to certain ruin for some, and the loss of all they hold dear for Julian and Ned. How far will they go to solve the mystery and stop a killer?
The Thing. Daredevil. Captain Marvel. The Human Fly. Drawing on DC and Marvel comics from the 1950s to the 1990s and marshaling insights from three burgeoning fields of inquiry in the humanities--disability studies, death and dying studies, and comics studies--José Alaniz seeks to redefine the contemporary understanding of the superhero. Beginning in the Silver Age, the genre increasingly challenged and complicated its hypermasculine, quasi-eugenicist biases through such disabled figures as Ben Grimm/The Thing, Matt Murdock/Daredevil, and the Doom Patrol. Alaniz traces how the superhero became increasingly vulnerable, ill, and mortal in this era. He then proceeds to a reinterpretation of characters and series--some familiar (Superman), some obscure (She-Thing). These genre changes reflected a wider awareness of related body issues in the postwar United States as represented by hospice, death with dignity, and disability rights movements. The persistent highlighting of the body's "imperfection" comes to forge a predominant aspect of the superheroic self. Such moves, originally part of the Silver Age strategy to stimulate sympathy, enhance psychological depth, and raise the dramatic stakes, developed further in such later series as The Human Fly, Strikeforce: Morituri, and the landmark graphic novel The Death of Captain Marvel, all examined in this volume. Death and disability, presumed routinely absent or denied in the superhero genre, emerge to form a core theme and defining function of the Silver Age and beyond.
Each of us has a place to return to in our minds, a place of clarity and peace, a place to think, to create, to dream. For Bryce Courtenay this place was a waterhole in Africa where he used to escape to as a boy, in search of solitude. One evening, while lingering there, he witnessed the tallest of the great beasts drinking from the waterhole in the moonlight, and was spellbound. Ever since, he drew inspiration from this moment. In short stories and insights, many written in his final months, Bryce reflects on living and dying, and how through determination, respect for others and taking pleasure in small moments of joy, he lived life to the fullest. From practical advice on how to write a bestseller to general inspiration on how to realise your dreams, The Silver Moon celebrates Bryce Courtenay's lifelong passion for storytelling, language and the creative process, and brings us closer to the man behind the bestsellers.
African-American, 38, a crime historian, Lizzie Stuart has spent most of her life in Drucilla, Kentucky. When her grandmother dies, Lizzie decides it is time for a vacation. She joins her best friend, Tess, a travel writer, for a week in Cornwall, England, in the resort town of St. Regis. Lizzie finds her vacation anything but restful when she becomes an eyewitness to murder and the probable next victim.
Winner of the 2008 Agatha Award for Best First Novel From deep in the heart of his eighteenth century English manor, millionaire Sir Adrian Beauclerk-Fisk writes mystery novels and torments his four spoiled children with threats of disinheritance. Tiring of this device, the portly patriarch decides to weave a malicious twist into his well-worn plot. Gathering them all together for a family dinner, he announces his latest blow—a secret elopement with the beautiful Violet...who was once suspected of murdering her husband. Within hours, eldest son and appointed heir Ruthven is found cleaved to death by a medieval mace. Since Ruthven is generally hated, no one seems too surprised or upset—least of all his cold-blooded wife Lillian. When Detective Chief Inspector St. Just is brought in to investigate, he meets with a deadly calm that goes beyond the usual English reserve. And soon Sir Adrian himself is found slumped over his writing desk—an ornate knife thrust into his heart. Trapped amid leering gargoyles and stone walls, every member of the family is a likely suspect. Using a little Cornish brusqueness and brawn, can St. Just find the killer before the next-in-line to the family fortune ends up dead? Death of a Cozy Writer was chosen by Kirkus Reviews as a Best Book of 2008, nominated for a Left Coast Crime award (the Hawaii Five-O for best police procedural), short-listed for the Macavity Award for Best First Mystery, nominated for the Anthony Award for Best First Novel and was a finalist for the David G. Sasher, Sr. Award for Best Mystery Novel. Praise: "Fans of English detective work will welcome Malliet's droll debut, the first in a new series."—Publishers Weekly "Malliet's debut combines devices from Christie and Clue to keep you guessing until the dramatic denouement."—Kirkus Reviews "Malliet's skillful debut demonstrates the sophistication one would expect of a much more established writer. I'm looking forward to her next genre-bender, Death and the Lit Chick."—Mystery Scene "Almost every sentence is a polished, malicious gem, reminiscent of Robert Barnard...the book is perfect for the lover of the classical detective story or the fan of great sentences."—Deadly Pleasures "In her series debut, Malliet, who won a Malice Domestic Grant to write this novel, lays the foundation for an Agatha Christie—like murder mystery."—Library Journal "An affectionate homage to the Golden Age of British crime fiction by a skilled writer rapidly attracting attention."—The Sherbrook Record "This tale cleverly adds modern touches to an Agatha Christie style classic house mystery."—Mystery Women Magazine "Wicked, witty and full of treats!"—Peter Lovesey, recipient of Lifetime Achievement Awards from the Crime Writer's Association and Malice Domestic "The traditional British cozy is alive and well. Delicious. I was hooked from the first paragraph."—Rhys Bowen, award-winning author of Her Royal Spyness "Death of a Cozy Writer is a romp, a classic tale of family dysfunction in a moody and often humourous English country house setting."—Louise Penny, author of the award-winning Armand Gamache series of murder mysteries "The connections made by St. Just are nothing short of Sherlock Holmes at his most coherent. A most excellent first mystery!"—Midwest Book Review
Ten days before Christmas. Jingle Bells fill the air. On December 15, 1967 at 5 P. M., the gorgeous Silver Bridge that connected Point Pleasant, West Virginia and Gallipolis, Ohio crashed into the Ohio River taking with it forty-six lives. Vincent Booton had gone across the bridge to buy a new color television set for his family. Kayleen MacKlintoc is a wealthy college student is home for winter break. Fred and Anabell Myers have a doctor's appointment. George Henderson is picking up a diamond bracelet for his wife. Jim Henderson is looking for a way to avoid the draft, but there is no room in the Henderson house for cowards. Denise Sheppard is a single mother with two kids. She works at a truck stop as a waitress and can hardly afford peanut butter much less Christmas presents. Ken and Gloria Gilmore are newlyweds, deeply in love with their whole lives ahead of them. Mary Ann Gilmore is a vivacious teenager anticipating her first kiss. They all have one thing in common: The Silver Bridge and the horribly cold water that awaits. One loud boom and the bridge goes down. A minute later, dozens of cars are underwater, and people are beating on the windows and doors, trying to escape certain death. Trapped, dying or already dead from concrete slabs and twisted metal that crushed cars and skulls with indifference. Trapped, dying with no way out. Christmas presents wash up on banks of the Ohio River.
Death Makes Great TV. Frankie Percival is cashing in her chips. To save her brother from financial ruin, Frankie—a single stage performer and mentalist who never made it big—agrees to be assassinated on the most popular television show on the planet: Death Warrant. Once she signs her life away, her memory is wiped clean of the agreement, leaving her with no idea she will soon be killed spectacularly for global entertainment. After years of working in low-rent theaters, Frankie prepares for the biggest performance of her life as her Death Warrant assassin closes in on her. Every person she encounters could be her killer. Every day could be her last. She could be a star, if only she lives that long.
