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'Her detective novels are hilarious - less about detecting than delighting, with absurd farce and a wonderful turn of phrase . . . Nancy Spain was bold, she was brave, she was funny, she was feisty. I owe her a great deal' Sandi Toksvig When Prince Charming is murdered and the principal dancer hits the bottle, amateur sleuths Miriam Birdseye and Natasha Nevkorina come to the rescue. Sacrificing their Christmas plans for the sake of art and detecting, they join the pantomime. As ex-thespians, they know the show must go on - though the cast shrinks with each rehearsal. Can the indomitable detective duo discover the murderer before the final curtain falls? Fast paced and festive, this comic crime classic from Nancy Spain will keep you on the edge of your seat.
Cinderella’s transformation from a lowly, overlooked servant into a princess who attracts everyone’s gaze has become a powerful trope within many cultures. Inspired by the Cinderella archive of books and collectables at the University of Bedfordshire, the essays in this collection demonstrate how the story remains active in various different societies where social and family relationships are adapting to modern culture. The volume explores the social arenas of dating apps and prom nights, as well as contemporary issues about women’s roles in the home, and gender identity. Cinderella’s cultural translation is seen through the contributors’ international perspectives: from Irish folklore to the Colombian Cenicienta costeña (Cinderella of the coast) and Spanish literary history. Its transdisciplinarity ranges from fashion in Charles Perrault and the Brothers Grimm’s publications to a comparison of Cinderella and Galatea on film, and essays on British authors Nancy Spain, Anne Thackeray Ritchie and Frances Hodgson Burnett.
This book is an appreciation of selected authors who make extensive use of humor in English detective/crime fiction. Works using humor as an amelioration of the serious have their heyday in the Golden Age of crime writing but they belong also to a long tradition. There is an identifiable lineage of humorous writing in crime fiction that ranges from mild wit to outright farce, burlesque, even slapstick. A mix of entertainment with instruction is a tradition in English letters. English crime fiction writers of the era circa 1913 to 1940 were raised in the mainstream literary tradition but turned their skills to detective fiction. And they are the humorists of the genre. This book is not an exhaustive study but an introduction into the best produced by the most capable and enjoyable authors. What the humorists seek is to surprise the reader by overturning their expectations using a repertoire of stylistic conceits and motifs (recurring incidents, devices, references). Humor has a liberating effect but is concerned too with "comic contrast" through ugliness and caricature. In crime fiction one effect is intellectual pleasure at solving (or attempting to solve) a puzzle. Another is entertainment but with serious undertones.
'A delight . . . a glorious, witty and life-affirming ragbag of autobiography, cultural commentary and hard-won wisdom.' ANDREW TAYLOR, author of The Shadows of London 'Perceptive, wise and illuminating . . . an unmissable farewell.' Barry Forshaw, FINANCIAL TIMES 'The most hilarious, life-affirming book you’ll read this year.' SAGA magazine 'Wit and wisdom that make every page turn . . . what a fine talent the world has lost.' STARBURST This is the memoir Christopher Fowler always wanted to write about 'writing'. It's the story of how a young bookworm growing up in a house where there was nothing to read but knitting pamphlets and motorcycle manuals became a writer - a 'word monkey' - and pursued a sort of career in popular fiction. And it's a book full of brilliant insights into the pleasures and pitfalls of his profession, dos and don'ts for would-be writers, and astute observations on favourite (and not-so-favourite) novelists. But woven into this hugely entertaining and inspiring reflection on a literary life is an altogether darker thread. In Spring 2020, just as the world went into lockdown, Chris was diagnosed with terminal cancer. And yet there is nothing of the misery memoir about Word Monkey. Past and present intermingle as, in prose as light as air, he relates with wry humour and remarkable honesty what he knows will be the final chapter in his story. Deeply moving, insightful and surprisingly funny, this is Christopher Fowler's life-affirming account of coming to terms with his own mortality. 'A remarkable book by a remarkable writer: amazingly entertaining and informative and also, for obvious reasons, one of the most moving.' SIMON MASON, author of the DI Wilkins Mysteries 'Wonderful . . . there is no bitterness here, but a hearty celebration of how art defines a life, with dark humour on the right occasions and the deliberate aim to leave a positive message . . . his enthusiasm is infectious and sobering when you are aware that he was dying as he wrote these pages.' Maxim Jacubowski, CRIME TIME
Cinderella - The story is always the same: a girl - hated and abused by her step-family - meets her prince at a ball. There is involvement with a glass shoe, a bit of magic, and in the end, they all live happily ever after. You've heard it before - but you've never heard it like this: In early America, at a time when dealings with dead bodies is considered taboo, Cindy's father is a mortician. She, for one, is fascinated by the controversial work, until her mother dies and her father marries Anna van Burren, who brings two new sisters into the family. Cindy's misery only grows from there. Following her father's untimely death, Cindy's life spirals into darkness as she is forced to become a servant in her own home, to wait on her hated siblings and stepmother. She has become so sequestered that she can't even let the one man she continues to think about know that she is alive. She met him once in the mortuary years ago - a handsome, curious boy who had been a surprise to her - until she'd discovered who he was. Now a man, Christian is a perfect specimen, and also the object of her step-sisters' affections. According to a stipulation of his inheritance, he must marry before age twenty-one. That day is fast approaching. Any hope Cindy had of seeing him again - or of salvaging anything that should have been left of her life - seems lost. Cindy's world is filled with misfortune. She believes she must be cursed. It takes the appearance of a strange woman who brings a wicked prophecy before Cindy can see how blessed she could become - and to see what sacrifices were made to give her hope once again.
This Cinderella goes from ashes to ashes in the new Victorian-era Fairy Tale Fatal Mystery by the author of Snow White Red-Handed . . . Variety hall actress Ophelia Flax’s plan to reunite her friend Prue with her estranged—and allegedly wealthy—mother, Henrietta, is met with a grim surprise. Not only is the marquise’s Paris mansion a mouse-infested ruin, but Henrietta has inexplicably vanished, leaving behind an evasive husband, two sinister stepsisters, and a bullet-riddled corpse in the pumpkin patch decked out in a ball gown and one glass slipper—a corpse that also happens to be a dead ringer for Prue. Strangely, no one at 15 rue Garenne seems concerned about who plugged this luckless Cinderella or why, so the investigation is left to Ophelia and Prue. It takes them through the labyrinthine maze of the Paris Opera, down the trail of a legendary fairy tale relic, into the confidence of a wily prince charmless, and makes them vulnerable to the secrets of a mysterious couturière with designs of her own on Prue’s ever-twisting family history.
Many bibliographers focus on women who write. Lawyer Barnett looks at women who detect, at women as sleuths and at the evolving roles of women in professions and in society. Excellent for all women's studies programs as well as for the mystery hound.
Before the 1969 Stonewall Riots, LGBTQ life was dominated by the negative image of "the closet"--the metaphorical space where that which was deemed "queer" was hidden from a hostile public view. Literary studies of queer themes and characters in crime fiction have tended to focus on the more positive and explicit representations since the riots, while pre-Stonewall works are thought to reference queer only negatively or obliquely. This collection of new essays questions that view with an investigation of queer aspects in crime fiction published over eight decades, from the corseted Victorian era to the unbuttoned 1960s.