"The seventh book in the Cait Morgan series finds the eccentric Welsh criminologist--sleuth accompanying her husband Bud to Amsterdam to try to unravel a puzzling situation. Bud is as surprised to discover he has a long-lost uncle as he is to discover Uncle Jonas has met an untimely death. Bud's mother assures him Jonas was a bad child--but, from beyond the grave--Uncle Jonas begs his nephew to visit the city he adopted as his home to delve into the life he built for himself there, founded on his passion for art. With an old iron key as their only clue, Cait and Bud travel to Amsterdam to solve the cryptic message left by Jonas, and honour the dying wishes of a long-lost relative."--Amazon.
A new book from Bony Blithe award–winning mystery author Cathy Ace where her sleuth Cait Morgan investigates a chilling cold case from a university in Budapest. A gig as guest lecturer at the university in Budapest should have been a dream job for a travelling criminologist and food lover. But wherever Cait Morgan goes, murder seems to follow. One of Cait’s new students pleads with her to solve the mystery of her grandmother’s brutal slaying. She agrees, but when she is repeatedly hassled by a weird colleague, and as bizarre details about the student’s family members come to light, Cait is beset by uncertainty. As she gets closer to the truth, Cait's investigation puts the powers-that-be on high alert, and her instincts tell her she's in grave danger. Bud races to Budapest to come to Cait's aid, but will it be too late?
"Sure that the award-winning owner of a family-run vineyard was murdered. Bud Anderson, Cait's companion for the weekend, is convinced the woman took her own life. That is, until death strikes once again, in the neat rows of grapevines that clamber up the banks of magnificent Lake Okanagan"--Page 4 of cover
The Women of the WISE Enquiries Agency are back. When the village's prodigal son, Huw Hughes, returns and sets his cap at Annie Parker, village publican Tudor begs Annie's colleagues at the WISE Enquiries Agency to unearth the truth behind Huw having been widowed three times. With Christine enjoying a break at her family's Irish estate - where she and the brooding Alexander face a surprisingly dangerous case of theft ? Mavis and Carol have to work with dowager duchess Althea Twyst to ensure their unsuspecting friend Annie's safety, and possibly the lives of more villagers.
THE GARNET RED is the chilling and powerfully emotional story of three women. Told in multiple voices, THE GARNET RED chronicles the psychological and spiritual voyage of an elderly, but vital woman and the two girls that she befriends along the way. When Rosa Frobischer buried her beloved George, a famous screenwriter, she found that along with her husband, she had also interred her own identity. Rosa's journey takes her back to Marionneaux, Louisiana, the place of her birth. There, she finds comfort in the friendship of Shelby Halifax, a spoiled debutante and Dove Ji, an overweight girl shocked into shyness by her parents' emotional abuse. Soon, Rosa is tormented by seemingly inexplicable dreams in which she is drowning in a razor-sharp sea of garnets and haunted by vivid memories of her long-suppressed past. As Rosa looks into the snarling face of truth, she realizes she must protect Shelby and Dove from a similar fate as they quickly realize that their own lives are founded in lies.
If certain objects work well, no one notices them. As with "black boxes, " their success may be gauged by their relative invisibility -- and this was the indirect goal of the objects that Julian Yates considers here: the portrait miniature, the relic, the privy (flush toilet), the printed text, and the priest-hole (a secret hiding place for Catholic priests in Protestant England). Because each of these contrivances was prone to error, misuse, and sometimes catastrophic failure, they become in Yates's analysis an occasion for recasting the history of the English Renaissance as object lessons -- "knowing from the point of view of the known." It is through such lapses -- the texts and stories generated to explain away a relic that is too easily faked, a miniature that is too curiously real, the stench of a failing privy, a book that persistently sheds its pages, or the presence of so much "papist trash" in an ostensibly reformed England -- that Yates recovers the silent work of "things" in cultural production. Drawing object lessons from failing technological devices, Error, Misuse, Failure plumbs the foundations of Renaissance culture in England, recovering a curious language of mistakes, dirt, and parasitism that associates the failures of these "things" with the figures of Rome, Catholicism, and Sodom. Yates offers a mode of historical inquiry rooted in material culture, sensitive to the way humans induct nonhumans (animals, plants, and manufactured things) into their communities. Historically, the book offers a new set of stories about the rise of printing, the development of domestic architecture, and England's Catholic community -- stories that remind readers of the ways in whichattending to the history of nonhumans requires a radical rethinking of historical landmarks and boundaries.
After the death of her longtime friend and flatmate, retired British history teacher Julia Garnet does something completely out of character: She takes a six-month rental on a modest apartment in Venice. She befriends a young Italian boy and English twins who are restoring a fourteenth-century chapel. And she falls in love for the first time in her life with an art dealer named Carlo. Juxtaposing Julia's journey of self-discovery with the apocryphal tale of Tobias and the Archangel Raphael, Miss Garnet's Angel tells a lyrical, incandescent story of love, loss, miracles, and redemption and of one woman's transformation and epiphany.
"Field Marshal Garnet Joseph Wolseley, 1st Viscount Wolseley, KP, GCB, OM, GCMG, VD, PC (4 June 1833 ? 25 March 1913) was an Anglo-Irish officer in the British Army. He served in Burma, the Crimean War, the Indian Mutiny, China, Canada, and widely throughout Africa ? including his Ashanti campaign (1873?1874) and the Nile Expedition against Mahdist Sudan in 1884-85. He served as Commander-in-Chief of the Forces from 1895 to 1900. His reputation for efficiency led to the late 19th-century English phrase "everything's all Sir Garnet", meaning "all is in order.""--Wikipedia.
These stories of vampire legends and gruesome nineteenth-century practices is “a major contribution to the study of New England folk beliefs” (The Boston Globe). For nineteenth-century New Englanders, “vampires” lurked behind tuberculosis. To try to rid their houses and communities from the scourge of the wasting disease, families sometimes relied on folk practices, including exhuming and consuming the bodies of the deceased. Folklorist Michael E. Bell spent twenty years pursuing stories of the vampire in New England. While writers like H.P. Lovecraft, Henry David Thoreau, and Amy Lowell drew on portions of these stories in their writings, Bell brings the actual practices to light for the first time. He shows that the belief in vampires was widespread, and, for some families, lasted well into the twentieth century. With humor, insight, and sympathy, he uncovers story upon story of dying men, women, and children who believed they were food for the dead. “A marvelous book.” —Providence Journal Includes an updated preface covering newly discovered cases.
A NEW YORK TIMES BOOK CRITICS’ TOP 10 BOOK OF THE YEAR “In its loving, fierce specificity, this book on how to die is also a blessedly saccharine-free guide for how to live” (The New York Times). Former NEA fellow and Pushcart Prize-winning writer Sallie Tisdale offers a lyrical, thought-provoking, yet practical perspective on death and dying in Advice for Future Corpses (and Those Who Love Them). Informed by her many years working as a nurse, with more than a decade in palliative care, Tisdale provides a frank, direct, and compassionate meditation on the inevitable. From the sublime (the faint sound of Mozart as you take your last breath) to the ridiculous (lessons on how to close the sagging jaw of a corpse), Tisdale leads us through the peaks and troughs of death with a calm, wise, and humorous hand. Advice for Future Corpses is more than a how-to manual or a spiritual bible: it is a graceful compilation of honest and intimate anecdotes based on the deaths Tisdale has witnessed in her work and life, as well as stories from cultures, traditions, and literature around the world. Tisdale explores all the heartbreaking, beautiful, terrifying, confusing, absurd, and even joyful experiences that accompany the work of dying, including: A Good Death: What does it mean to die “a good death”? Can there be more than one kind of good death? What can I do to make my death, or the deaths of my loved ones, good? Communication: What to say and not to say, what to ask, and when, from the dying, loved ones, doctors, and more. Last Months, Weeks, Days, and Hours: What you might expect, physically and emotionally, including the limitations, freedoms, pain, and joy of this unique time. Bodies: What happens to a body after death? What options are available to me after my death, and how do I choose—and make sure my wishes are followed? Grief: “Grief is the story that must be told over and over...Grief is the breath after the last one.” Beautifully written and compulsively readable, Advice for Future Corpses offers the resources and reassurance that we all need for planning the ends of our lives, and is essential reading for future corpses everywhere. “Sallie Tisdale’s elegantly understated new book pretends to be a user’s guide when in fact it’s a profound meditation” (David Shields, bestselling author of Reality Hunger).
