When Cassie Pengear agreed to spend the evening with her cousin Milly, and Milly’s latest gentleman caller and his mother, it was with the promise that Milly and her gentleman would not trouble her again unless there was an impending marriage. She did not expect Milly to stumble over a body in her prospective mother-in-law’s box room, and she certainly did not expect Inspector Wainwright to draw the case. Now Milly is convinced they’re all suspects and Cassie is the only one who can figure out who murdered the body in the box room. In a Victorian England that almost existed, a steampunk London where tinkerers and clockwork devices exist alongside hansom cabs and corsets, murder is still solved by traditional observation and intuition. This is the London where American typist Cassandra Pengear finds herself stumbling over corpses and helping Scotland Yard detectives solve murders (although they inexplicably prefer to call it interfering). Follow her adventures in the Cassie Pengear Mystery series, beginning with The Killing at the Carnival.
A Spartan Murder: When Cassie Pengear is summoned to Oxford as a suspect in a murder, she assumes it’s by one of the Scotland Yard Inspectors who don’t appreciate her occasional help. She’s surprised to learn it’s from her friend Inspector Burrows and even more startling, he actually begins to give her information on the case of a murdered Oxford don. Startling until she realizes his two best suspects are committing a crime Inspector Burrows would rather overlook simply by being together. Now she’s keeping suspects' secrets while investigating blackmail and murder. approx. 53,000 words or 200 pages The Body in the Box Room: When Cassie Pengear agreed to spend the evening with her cousin Milly, and Milly’s latest gentleman caller and his mother, it was with the promise that Milly and her gentleman would not trouble her again unless there was an impending marriage. She did not expect Milly to stumble over a body in her prospective mother-in-law’s box room, and she certainly did not expect Inspector Wainwright to draw the case. Now Milly is convinced they’re all suspects and Cassie is the only one who can figure out who murdered the body in the box room. In a Victorian England that almost existed, a steampunk London where tinkerers and clockwork devices exist alongside handsome cabs and corsets, murder is still solved by traditional observation and intuition. This is the London where American typist Cassandra Pengear finds herself stumbling over corpses and helping Scotland Yard detectives solve murders (although they inexplicably prefer to call it interfering). Follow her adventures in the Cassie Pengear Mystery series, beginning with The Killing at the Carnival. traditional mystery, cozy mystery, steammpunk London, amateur detective, female sleuth
Books 4, 5, and 6 of the Cassie Pengear mystery series in one volume A Spartan Murder When Cassie Pengear is summoned to Oxford as a suspect in a murder, she assumes it’s by one of the Scotland Yard Inspectors who don’t appreciate her occasional help. She’s surprised to learn it’s her friend Inspector Burrows, and even more startling, he actually begins to give her information on the case. Startling until she realizes his two best suspects are committing a crime Inspector Burrows would rather overlook simply by being together. Now she’s keeping suspects' secrets while investigating blackmail and murder. The Body in the Boxroom When Cassie Pengear agreed to spend the evening with her cousin Milly, Milly’s latest gentleman caller, and his mother, it was with the promise that Milly and her gentleman would not trouble her again unless there was an impending marriage. She did not expect Milly to stumble over a body in her prospective mother-in-law’s boxroom, and she certainly did not expect Inspector Wainwright to draw the case. Now Milly is convinced they’re all suspects and Cassie is the only one who can figure out who murdered the body in the box room. A Drowning in Bath Cassie Pengear had just solved a difficult case in London and was looking forward to a quiet holiday in Bath where she could relax, visit the Regency sights, and read Jane Austen novels. Her cousin Milly had very different ideas of a how to spend their holiday and convinced Cassie to try the mixed bathing at the hotel baths. While there, they witness one of the guests being murdered. With the police insisting it was nothing more than a tragic accident, if she wants to see the killer caught, Cassie has no choice but to try to solve A Drowning in Bath. In a Victorian England that almost existed, a steampunk London where tinkerers and clockwork devices exist alongside hansom cabs and corsets, murder is still solved by traditional observation and intuition. This is the London where American typist Cassandra Pengear finds herself stumbling over corpses and helping Scotland Yard detectives solve murders (although they inexplicably prefer to call it interfering). Follow her adventures in the Cassie Pengear Mystery series, beginning with The Killing at the Carnival.
Kidnapped as a teenage girl, Ma has been locked inside a purpose built room in her captor's garden for seven years. Her five year old son, Jack, has no concept of the world outside and happily exists inside Room with the help of Ma's games and his vivid imagination where objects like Rug, Lamp and TV are his only friends. But for Ma the time has come to escape and face their biggest challenge to date: the world outside Room.
Terror He calls it the Body Box. It's a space too small for his victims to sit up or lie down. But it's the perfect place to keep them for his games--the perfect place to watch them while they die. Can't Be Bad choices and big mistakes have landed Detective Mechelle Deakes on the Atlanta Police Department's lowest rung, the Cold Case Unit. Sifting through forensic evidence and unsolved murder files is a thankless job she shares with her new partner, Lieutenant Hank Gooch, a man of few words and even fewer for African-American female cops like Mechelle. His single obsession is finding a serial killer who preys on the most innocent of victims, a man he thinks is responsible for many of the most gruesome unsolved cases in their files. And one chilling look convinces Mechelle that Hank's right. Contained It's a case that has been cold for a reason. Someone wants it to stay closed. And two cops will risk everything--their jobs, their reputations, even their lives--to uncover the truth, no matter where it takes them.
NEW YORK TIMES BESTSELLER • An unprecedented look into the personal and creative life of the visionary auteur David Lynch, through his own words and those of his closest colleagues, friends, and family “Insightful . . . an impressively industrious and comprehensive account of Lynch’s career.”—The New York Times Book Review In this unique hybrid of biography and memoir, David Lynch opens up for the first time about a life lived in pursuit of his singular vision, and the many heartaches and struggles he’s faced to bring his unorthodox projects to fruition. Lynch’s lyrical, intimate, and unfiltered personal reflections riff off biographical sections written by close collaborator Kristine McKenna and based on more than one hundred new interviews with surprisingly candid ex-wives, family members, actors, agents, musicians, and colleagues in various fields who all have their own takes on what happened. Room to Dream is a landmark book that offers a onetime all-access pass into the life and mind of one of our most enigmatic and utterly original living artists. With insights into . . . Eraserhead The Elephant Man Dune Blue Velvet Wild at Heart Twin Peaks Twin Peaks: Fire Walk with Me Lost Highway The Straight Story Mulholland Drive INLAND EMPIRE Twin Peaks: The Return Praise for Room to Dream “A memorable portrait of one of cinema’s great auteurs . . . provides a remarkable insight into [David] Lynch’s intense commitment to the ‘art life.’ ”—The Guardian “This is the best book by and about a movie director since Elia Kazan’s A Life (1988) and Michael Powell’s A Life in Movies (1986). But Room to Dream is more enchanting or appealing than those classics. . . . What makes this book endearing is its chatty, calm account of how genius in America can be a matter-of-fact defiance of reality that won’t alarm your dog or save mankind. It’s the only way to dream in so disturbed a country.”—San Francisco Chronicle
This book explores the intricate interplay between physical spaces and psychological landscapes in the works of Irish-American author Maeve Brennan. Brennan’s writing is now classed amongst the most important of twentieth-century Irish women’s fiction, having undergone a significant reclamation and reappraisal in the 30 years since her death. Single and childfree for most of her life, Brennan eschewed the securities of family and home, experiencing an "otherness" that she shared with her fellow New Yorkers, many of them left, she wrote, hanging on to a city half-capsized––“most of them still able to laugh as they cling to the island that is their life’s predicament.” It is a suitably ambiguous expression for a writer who cultivated an interstitial existence, whose stories inhere within a dream cycle of reiterative pasts, and whose works augment and elevate the canon of radical Irish fiction.
