Don’t Mention Murder It was a vulgar word in the swank millionaire town of San Valdesto. But knocking off a few citizens here and there seemed more than a grave social error to a tough-minded detective like Joe Puma. It made him sore when he discovered the natives would rather protect a well-bred killer than put up with a low-brow private eye. So he taught them a lesson and his red-blooded tactics set the town’s blue blood to boiling. The Wayward Widow...another mad whirl on a murder-go round with that damsel-chasing knight in amour - Joe Puma.
Originally published in 1979. This highly detailed study of illicit sex amongst the peasantry of Somerset between 1601 and 1660 recreates the atmosphere of the period and questions a number of previously accepted hypotheses. Based on the depositions presented to the county and regional courts during this period, it sheds as much light on prevailing village attitudes as it does on the specific discussion matter. Outlining the precarious existence of the peasant and the supervision of sexual morality, the book looks at pre-marital sex, pregnancy, prostitution, masturbation, contraception, rape, homosexuality and incest, along with the prevailing punishments of the time. This extensively researched work combines both demographic and literary-based analyses, with analytical and anecdotal approaches to the subject. It presents a rich source of social history, examining and questioning the role of Christian morality as an important factor in influencing the sexual habits of the peasant.
There's power in stories. This is a story of power. Dead bodies aren't unusual in the alleyways of Fenest, capital of the Union of Realms. Especially not in an election year, when the streets swell with crowds from near and far. Muggings, brawls gone bad, debts collected – Detective Cora Gorderheim has seen it all. Until she finds a Wayward man with his mouth sewn shut. His body has been arranged precisely by the killer and left conspicuously, waiting to be found. Cora fears this is not only a murder, but a message. As she digs into the dead man's past, she finds herself drawn into the most dangerous event in the Union: the election. In a world where stories win votes, someone has gone to a lot of trouble to silence this man. Who has stopped his story being told? _______________________________________________________ 'An utterly absorbing tale set in a fascinating world' MICK FINLAY. 'If you love storytelling, you'll love this' S.J. MORDEN. 'It's rare to find such a richly imagined world about the art of myth and storytelling' CHRISTOPHER FOWLER. 'Irresistibly thrilling, weaving together gaslit crime, fantasy and mystery... I can't wait for more' TIM MAJOR. 'There is more than meets the eye in this gripping and inventive debut... Rife with intrigue, deceit and cultural tension' JAMES AITCHESON.
A NEW YORK TIMES NOTABLE BOOK OF THE YEAR • A “furious and addictive new novel” (The New York Times) about mothers and daughters, and one woman's midlife reckoning as she flees her suburban life. “Exhilarating ... reads like a burning fever dream. A virtuosic, singular and very funny portrait of a woman seeking sanity and purpose in a world gone mad.” —The New York Times Book Review Samantha Raymond's life has begun to come apart: her mother is ill, her teenage daughter is increasingly remote, and at fifty-two she finds herself staring into "the Mids"—that hour of supreme wakefulness between three and four in the morning in which women of a certain age suddenly find themselves contemplating motherhood, mortality, and, in this case, the state of our unraveling nation. When she falls in love with a beautiful, decrepit house in a hardscrabble neighborhood in Syracuse, she buys it on a whim and flees her suburban life—and her family—as she grapples with how to be a wife, a mother, and a daughter, in a country that is coming apart at the seams. Dana Spiotta's Wayward is a stunning novel about aging, about the female body, and about female complexity in contemporary America. Probing and provocative, brainy and sensual, it is a testament to our weird times, to reforms and resistance and utopian wishes, and to the beauty of ruins.
Labors Lost offers a fascinating and wide-ranging account of working women's behind-the-scenes and hitherto unacknowledged contributions to theatrical production in Shakespeare's time. Natasha Korda reveals that the purportedly all-male professional stage relied on the labor, wares, ingenuity, and capital of women of all stripes, including ordinary crafts- and tradeswomen who supplied costumes, props, and comestibles; wealthy heiresses and widows who provided much-needed capital and credit; wives, daughters, and widows of theater people who worked actively alongside their male kin; and immigrant women who fueled the fashion-driven stage with a range of newfangled skills and commodities. Combining archival research on these and other women who worked in and around the playhouses with revisionist readings of canonical and lesser-known plays, Labors Lost retrieves this lost history by detailing the diverse ways women participated in the work of playing, and the ways male players and playwrights in turn helped to shape the cultural meanings of women's work. Far from a marginal phenomenon, the gendered division of theatrical labor was crucial to the rise of the commercial theaters in London and had an influence on the material culture of the stage and the dramatic works of Shakespeare and his contemporaries.
Princess Isabella never imagined it could come to this. Bad enough she faces imprisonment for debts not her own. Even worse that she must make a hasty marriage of convenience with Marcus, the Earl of Stockhaven — the man she'd loved and lost so long ago. But that he now wants revenge by demanding she be his in more than name only...well, that is simply intolerable! As the London gossips eagerly gather to watch the fun, Isabella struggles to maintain a polite distance in her marriage. But the more Isabella challenges Marcus's iron determination, the hotter their passion burns. This time, will it consume them both — or fuel a love greater than they dare dream?