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A corpse is discovered in the home of Col. and Mrs. Bantry, and when suspicion fall on the colonel, Miss Marple set out to prove her innocence.
A smart and charming middle-grade mystery series starring young detective Aggie Morton and her friend Hector, inspired by the imagined life of Agatha Christie as a child and her most popular creation, Hercule Poirot. Aggie Morton lives in a small town on the coast of England in 1902. Adventurous and imaginative but deeply shy, Aggie hasn't got much to do since the death of her beloved father . . . until the fateful day when she crosses paths with twelve-year-old Belgian immigrant Hector Perot and discovers a dead body on the floor of the Mermaid Dance Room! As the number of suspects grows and the murder threatens to tear the town apart, Aggie and her new friend will need every tool at their disposal -- including their insatiable curiosity, deductive skills and not a little help from their friends -- to solve the case before Aggie's beloved dance instructor is charged with a crime Aggie is sure she didn't commit.
WHAT IS THE STORY GRID? The Story Grid is a tool developed by editor Shawn Coyne to analyze stories and provide helpful editorial comments. It's like a CT Scan that takes a photo of the global story and tells the editor or writer what is working, what is not, and what must be done to make what works better and fix what's not. The Story Grid breaks down the component parts of stories to identify the problems. And finding the problems in a story is almost as difficult as the writing of the story itself (maybe even more difficult). The Story Grid is a tool with many applications: 1. It will tell a writer if a Story ?works? or ?doesn't work. 2. It pinpoints story problems but does not emotionally abuse the writer, revealing exactly where a Story (not the person creating the Story'the Story) has failed. 3. It will tell the writer the specific work necessary to fix that Story's problems. 4. It is a tool to re-envision and resuscitate a seemingly irredeemable pile of paper stuck in an attic drawer. 5. It is a tool that can inspire an original creation.
Four of Agatha Christieâe(tm)s twelve, celebrated Miss Marple novels in a single volume, bound in the stylish livery of the new series. The Body in the Library Itâe(tm)s seven in the morning, and the body of a young woman is found in the Bantryâe(tm)s library. And whatâe(tm)s the connection with another dead girl, found in a deserted quarry? Miss Marple is invited to investigate the mystery before tongues start to wagâe¦ and another innocent victim is murdered in cold blood. The Moving Finger The quiet inhabitants of Lymstock are unsettled by a sudden outbreak of hate-mail. But when one of the recipients commits suicide, only Miss Marple questions the coronerâe(tm)s verdict. Is this the work of a poison penâe¦or a poisoner? A Murder is Announced An advertisement in the Chipping Cleghorn Gazette announces the time and place of a forthcoming murder. Many think itâe(tm)s a hoax âe" but the owner of the house named as the murder site is less than impressed. Especially when half the village turn up at the allotted time and then the lights go outâe¦ and the screaming starts. 4.50 from Paddington As two trains run together, side by side, Mrs McGillicuddy watches a murder. Then the other train draws away. With no other witnesses, and not even a body, who will take her story seriously. The she remembers her old friend Miss Marpleâe¦
A young widow takes her first steps back into London society only to get drawn into a murder investigation in this series debut, perfect for fans of Tasha Alexander and Rhys Bowen "Fast-paced, expertly researched, and intricately plotted. I actually gasped when I got to the end!”—Alex Grecian, New York Times bestselling author of The Saint of Wolves and Butchers Regency London, 1815. Though newly-widowed Lily Adler is returning to a society that frowns on independent women, she is determined to create a meaningful life for herself even without a husband. She's no stranger to the glittering world of London's upper crust. At a ball thrown by her oldest friend, Lady Walter, she expects the scandal, gossip, and secrets. What she doesn't expect is the dead body in Lady Walter's garden. Lily overheard the man just minutes before he was shot: young, desperate, and attempting blackmail. But she's willing to leave the matter to the local constables--until Lord Walter bribes the investigating magistrate to drop the case. Stunned and confused, Lily realizes she's the only one with the key to catching the killer. Aided by a roguish navy captain and a mysterious heiress from the West Indies, Lily sets out to discover whether her friend's husband is mixed up in blackmail and murder. The unlikely team tries to conceal their investigation behind the whirl of London's social season, but the dead man knew secrets about people with power. Secrets that they would kill to keep hidden. Now, Lily will have to uncover the truth, before she becomes the murderer's next target.
This anthology of rare stories of crime and suspense brings together 16 tales by masters of the Golden Age of Detective Fiction for the first time in book form, including a newly discovered Agatha Christie crime story that has not been seen since 1922.
In a city dissolving into an infected sprawl of ideas, where words come to life and reality is contaminated by stories, John Nyquist wakes up in a room with a dead bodyÛ The dead man�s impossible whispers plunge him into a murder investigation like no other. Clues point him deeper into an unfolding story infesting its participants as reality blurs between place and genre. Only one man can hope to put it all back together into some kind of order, enough that lives can be savedÛ That man is Nyquist, and he is lost.
The body is increasingly understood as being at the centre of colonial and post-colonial relationships and textual productions. Creating and circulating images of the undisciplined body of the 'other' was and is a critical aspect of colonialism. Likewise, resistance to colonial practices was also frequently corporeal, with indigenous peoples appropriating, parodying, and subverting those European practices which were used to signify the 'civilized' status of the colonizing body. The Body in the Library reads representations of the corporeal in texts of empire; case studies include: • gendered representations of corporeality • medical régimes • ethnography and photography in the Pacific • cultural transvestism in theatre • disease and colonial knowledge generation • 'freak shows' and colonial exhibits • cinematic representations of bodies • geography and the metaphorization of land as a penetrable body • marketing the body • organ transplants and the limits of the post-colonial paradigm In viewing colonialism and resistance as a bodily phenomenon, The Body in the Library enables new perspectives on the process of colonization and resistance. It is an important resource for teachers and students of colonial and post-colonial literatures.
The Body in the Library provides a nuanced and realistic picture of how medicine and society have abetted and thwarted each other ever since the lawyers behind the French Revolution banished the clergy and replaced them with doctors, priests of the body. Ranging from Charles Dickens to Oliver Sacks, Anton Chekhov to Raymond Queneau, Fanny Burney to Virginia Woolf, Miguel Torga to Guido Ceronetti, The Body in the Library is an anthology of poems, stories, journal entries, Socratic dialogue, table-talk, clinical vignettes, aphorisms, and excerpts written by doctor-writers themselves. Engaging and provocative, philosophical and instructive, intermittently funny and sometimes appalling, this anthology sets out to stimulate and entertain. With an acerbic introduction and witty contextual preface to each account, it will educate both patients and doctors curious to know more about the historical dimensions of medical practice. Armed with a first-hand experience of liberal medicine and knowledge of several languages, Iain Bamforth has scoured the literatures of Europe to provide a well-rounded and cross-cultural sense of what it means to be a doctor entering the twenty-first century.
Jeremiah Cuthbert Shelby (JC), an ex navy man who suffers from congenital sea sickness, goes back to college in a small town in Iowa after one enlistment tour to get his degree in criminal Justice. With a part time job in the college library he is in an ideal position to put his academic plans to premature use when the body of a young library assistant is discovered in a vault in the Special Collections stacks. Romance enters the picture when he is ably assisted in his sleuthing by Susan, a part time library employee. There turns out to be more than one murder which makes the case too much for the local Chief of Police, the professors, or the leading citizens of Avon, Iowa.
