A popular crime genre in the nineteenth century, urban mysteries have largely been ignored ever since. This historical and critical text examines the origins of the innovative genre, which grappled with the rise of enormous, anonymous cities, beginning in France in 1842, then spreading rapidly across the continent and to America and Australia. Writers covered include Eugene Sue, George Reynolds, Paul Feval, George Lippard, "Ned Buntline" and Donald Cameron.
"Earl Emerson is one of the best of the new private eye writers." --Chicago Sun-Times Something made Melissa Nadisky flee her husband and their daughter. The note she left behind paints a picture of a woman haunted by a private hell. Now Thomas Black's friend, Kathy Birchfield, wants him to find Melissa--before she's consumed by her secret, terrifying demons. Yet the straightforward missing persons case turns deadly when a killer starts silencing key witnesses in Black's investigation. But there's no turning back--especially after the sometimes-psychic Kathy tells him about her terrifying vision: a weeping little girl and a pit full of human bones. . . . "Emerson is right up there with the best in the genre when it comes to bringing the elements of mystery to a rolling boil." --Mostly Murder
In this ambitious and exciting work Richard Maxwell uses nineteenth-century urban fiction--particularly the novels of Victor Hugo and Charles Dickens--to define a genre, the novel of urban mysteries. His title comes from the "mystery mania" that captured both sides of the channel with the runaway success of Eugene Sue's Les mysteres de Paris and G. W. M. Reynold's Mysteries of London. Richard Maxwell argues that within these extravagant but fact-obsessed narratives, the archaic form of allegory became a means for understanding modern cities. The city dwellers' drive to interpret linked the great metropolises with the discourses of literature and art (the primary vehicles of allegory). Dominant among allegorical figures were labyrinths, panoramas, crowds, and paperwork, and it was thought that to understand a figure was to understand the city with which it was linked. Novelists such as Hugo and Dickens had a special flair for using such figures to clarify the nature of the city. Maxwell draws from an array of disciplines, ideas, and contexts. His approach to the nature and evolution of the mysteries genre includes examinations of allegorical theory, journalistic practice, the conventions of scientific inquiry, popular psychiatry, illustration, and modernized wonder tales (such as Victorian adaptations of the Arabian Nights). In The Mysteries of Paris and London Maxwell employs a sweeping vision of the nineteenth century and a formidable grasp of both popular culture and high culture to decode the popular mysteries of the era and to reveal man's evolving consciousness of the city. His style is elegant and lucid. It is a book for anyone curious about the fortunes of the novel in thenineteenth century, the cultural history of that period, particularly in France and England, the relations between art and literature, or the power of the written word to produce and present social knowledge.
Rogue adventurer and maverick archaeologist, David Hatcher Childress, takes the reader on unforgettable journeys deep into deadly jungles, windswept mountains and scorching deserts in search of lost civilizations and ancient mysteries.
San Francisco is the ideal place for murder, mystery, and malevolence. Far beneath the swinging coils of the Golden Gate Bridge, in a dank set of abandoned prison cells, a strange caretaker with evil intentions plots his nefarious deeds. Atop the hills of Pacific Heights, an innocent young woman rides an evening cable car, stalked by her handsome fiance. In a seedy bar on Fifth Street, a stone-faced man awaits his next victim. These and other eerie and exciting stories can be found in San Francisco Thrillers, the first anthology of mysteries and thrillers set in the City by the Bay, and illustrated with the haunting vintage photographs of Francis Bruguiere.
From debut author Amy K. Green comes a devastating tale of psychological suspense: A teen pageant queen is found murdered in a small New England town and her sister's search for answers unearths more than she bargained for. Days after a young pageant queen named Jenny is found murdered, her small town grieves the loss alongside her picture-perfect parents. At first glance, Jenny's tragic death appears clear-cut for investigators. The most obvious suspect is one of her fans, an older man who may have gotten too close for comfort. But Jenny's half-sister, Virginia—the sarcastic black sheep of the family—isn't so sure of his guilt and takes matters into her own hands to find the killer. But for Jenny's case and Virginia's investigation, there's more to the story. Virginia, still living in town and haunted by her own troubled teenage years, suspects that a similar darkness lies beneath the sparkling veneer of Jenny's life. Alternating between Jenny's final days and Virginia's determined search for the truth, the sisters' dual narratives follow a harrowing trail of suspects, with surprising turns that race toward a shocking finale. Infused with dark humor and driven by two captivating young women, The Prized Girl tells a heartbreaking story of missed connections, a complicated family, and a town's disturbing secrets.
Avram Cohen investigates a double murder by a killer with an amazing dexterity for knives as Jerusalem disintegrates in turmoil with zealots and intifada.
The staff at Salem, Massachusetts’s local station, WICH-TV, is looking forward to the wedding of their program director, Lee Barrett. But when Lee heads off on her Maine honeymoon, she’ll be haunted by the ghosts of her own past . . . Lee and Detective Sergeant Pete Mondello are finally tying the knot—and Lee is tying up loose ends before the big day. It’ll be an adjustment moving out of Aunt Ibby’s house, but the couple will stay nearby—after all, they have to share custody of O’Ryan, their clairvoyant cat. And Aunt Ibby will be renting out Lee’s old apartment . . . though she’s getting some bad vibes from her current prospective tenant. After the celebration, complete with a cake made by the station magician, there should be time to relax—but the Maine island happens to be near the site of the crash that long ago killed Lee’s parents, a mystery she’s never been able to solve. Soon she’ll be putting wedding gifts aside and turning to her psychic gifts instead, to wrap up crimes both past and present . . . Praise for the Witch City Mysteries “Yet another hit in the Witch City Mystery series!” —Fresh Fiction on Murder, Take Two “Carol J. Perry juggles these details with finesse and moves the plot toward a creepy conclusion that adds a few shivers to this cozy.” —BookPage on Late Checkout “This delightful read set against the Halloween festivities in Salem is perfect cozy read for a blustery autumn evening.” —The Intelligencer on Late Checkout
Behind the scenes, nothing is what it seems. Gord Stewart, 40 years old, single, moved back into his suburban childhood home to care for his widowed father. But his father no longer needs care and Gord is stuck in limbo. He’s been working in the movie business as a location scout for years, and when there isn’t much filming, as a private eye for a security company run by ex-cops, OBC. When a fellow crew member asks him to find her missing uncle, Gord reluctantly takes the job. The police say the uncle walked into some dense woods in Northern Ontario and shot himself, but the man’s wife thinks he’s still alive. With the help of his movie business and OBC connections, Gord finds a little evidence that the uncle may be alive. Now Gord has two problems: what to do when he finds a man who doesn’t want to be found, and admitting that he’s getting invested in this job. For the first time in his life, Gord Stewart is going to have to leave the sidelines and get into the game. Even if it might get him killed.
