For Libby Beckett, opening her charming yarn shop, and introducing customers to the joys of knitting and crochet, is the work she was meant to do. Until the yarn she loves is used for murder…. Libby has come home to Collinstown, Maryland to live her dream and open her own yarn shop, aptly named Y.A.R.N., along the Chester River. To Libby, Y.A.R.N. stands for "You're Absolutely Ready Now." But the acronym changes whenever inspiration strikes, and customers add to the list of suggestions that fill the blackboard wall in a shop stuffed with color, fiber, and comfort. Libby is thrilled when she lands famous Norwegian knitting celebrity Perle Langager for a series of events at Y.A.R.N. Libby's English bulldog, Hank, has been modeling one of Perle's doggie sweaters, and customers just can't wait to see Perle in action. The mayor of Collinstown even decrees a Collinstown Yarn Day to celebrate. But once Perle arrives in town, she seems distracted and on edge. And when she's found strangled with a skein of red yarn, Libby knows she has to solve a knotty mystery before her new life unravels.
Business is booming for Libby Beckett and her fabulous Maryland shop, aptly named Y.A.R.N., but when a town festival brings a fatality with it, Libby gets all tangled up in murder. As spring comes to Collinstown, the village launches a food festival to draw a new group of tourists. Libby, proud owner of Y.A.R.N., has planned a yarn event to provide an alternative option to a foodie weekend. Artisan fiber dyer Julie Wilson—known for her work with animal-friendly, plant-based knitting fibers such as bamboo and hemp as well as her brilliant use of color—will hopefully draw a crowd with a special dyeing workshop. The festival begins, but it draws more than crowds. First a flock of sheep parades down the street, herded by farmers protesting Julie’s antiwool stance. Then Julie’s celebrity chef sister appears, and the siblings resume a long-standing rivalry. Despite all this, Julie’s workshop has sold out. Libby is thrilled, and they’re preparing for a full house. But the night before the event, Julie is found alone in the warehouse event space—dead. The witty “Watch Julie Wilson Dye” workshop title now has a terrible new meaning—and it’s up to Libby to catch a crafty killer.
A murder in her yarn shop’s backyard puts Libby Beckett’s holiday plans on thin ice.… The holiday season looks merry and bright for Libby and her friends at Y.A.R.N. The store is expanding for a holiday boom, and she’s gathered Collinstown’s businesses to decorate a community Christmas tree. Dashing “Gallant Herdsman” Vincenzo Marani arrives to showcase the rare vicuña, whose coat produces the world’s most luxurious yarn. It’s a perfect yuletide—until Libby’s ex-husband, Sterling, turns up in town…and then turns up dead. The murder unravels Libby’s life faster than a hand-knit Christmas stocking. The luxe yarn goes missing, Sterling’s domineering family comes to town, and the vicuña attempt an escape. If Libby can’t stitch up a solution to the case, she may be trading in her knitting needles for a set of handcuffs.
A three-hundred-year-old house should be full of metaphorical skeletons, not real ones. But when Paisley Sutton is invited in to salvage the valuables from the attic of an old plantation house, she finds more than she expected amongst the Christmas decorations and trunks of old letters. As she begins to research, she discovers the story of this house has ties to almost everyone she knows, including her own family. Can Paisley be brave enough to face the facts, and will facing them save her?
As one of the Black Sheep Knitters prepares to become a mother, a new member becomes a suspected killer . . . Spring has reached Plum Harbor, Massachusetts, and the weather isn't the only thing that's changing. Eight months pregnant, Lucy prepares to enter an exciting phase in life while weaving together loose threads from her past. It feels like fate when she reconnects with college friend Rebecca Hurley, whose eclectic Happy Hands Café is the perfect locale for Black Sheep gatherings. But just as charming Rebecca joins their closely knit circle, she's suspected of murder. It appears to be an accident when Rebecca’s writer husband, Colin, is crushed by a fallen bookcase at the café. But his death is quickly determined to be murder. Adding to the horror, police believe Rebecca committed a heinous act of revenge against Colin for planning to end their marriage—a move that would cut off Rebecca’s contact with the stepdaughter she adores. Despite the incriminating evidence growing faster than her belly, Lucy is convinced that she must prove her old friend's innocence. As her due date approaches and a dangerous mystery unravels, Lucy and the Black Sheep shift from knitting baby booties to chasing down the cunning culprit who’s always a few steps ahead.
A very wise writer once wrote that books end, but stories never do. This book begins with the marriage of Ann and Allen, who now live happily in the house he found for her in The Skein.
Killing Times begins with the deceptively simple observation—made by Jacques Derrida in his seminars on the topic—that the death penalty mechanically interrupts mortal time by preempting the typical mortal experience of not knowing at what precise moment we will die. Through a broader examination of what constitutes mortal temporality, David Wills proposes that the so-called machinery of death summoned by the death penalty works by exploiting, or perverting, the machinery of time that is already attached to human existence. Time, Wills argues, functions for us in general as a prosthetic technology, but the application of the death penalty represents a new level of prosthetic intervention into what constitutes the human. Killing Times traces the logic of the death penalty across a range of sites. Starting with the legal cases whereby American courts have struggled to articulate what methods of execution constitute “cruel and unusual punishment,” Wills goes on to show the ways that technologies of death have themselves evolved in conjunction with ideas of cruelty and instantaneity, from the development of the guillotine and the trap door for hanging, through the firing squad and the electric chair, through today’s controversies surrounding lethal injection. Responding to the legal system’s repeated recourse to storytelling—prosecutors’ and politicians’ endless recounting of the horrors of crimes—Wills gives a careful eye to the narrative, even fictive spaces that surround crime and punishment. Many of the controversies surrounding capital punishment, Wills argues, revolve around the complex temporality of the death penalty: how its instant works in conjunction with forms of suspension, or extension of time; how its seeming correlation between egregious crime and painless execution is complicated by a number of different discourses. By pinpointing the temporal technology that marks the death penalty, Wills is able to show capital punishment’s expansive reach, tracing the ways it has come to govern not only executions within the judicial system, but also the opposed but linked categories of the suicide bombing and drone warfare. In discussing the temporal technology of death, Wills elaborates the workings both of the terrorist who produces a simultaneity of crime and “punishment” that bypasses judicial process, and of the security state, in whose remote-control killings the time-space coordinates of “justice” are compressed and at the same time disappear into the black hole of secrecy. Grounded in a deep ethical and political commitment to death penalty abolition, Wills’s engaging and powerfully argued book pushes the question of capital punishment beyond the confines of legal argument to show how the technology of capital punishment defines and appropriates the instant of death and reconfigures the whole of human mortality.
