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Detective Chief Inspector Wilfred Dover is the most idle and avaricious hero in all of crime fiction. Why should he even be bothered to solve the case? This time, Scotland Yard sends Detective Chief Inspector Dover and his woeful assistant MacGregor off on the Stately Home circuit to look into murder. Since Lord Crouch, master of Beltour, can hardly make ends meet despite the hordes of tourists visiting the manor, his hospitality is meagre – though his vegetarian sister, Lady Priscilla, would love to cook for Dover. And the victim couldn't be a drearier sort: "the wettest thing since nappies," according to Dover. In short, the inspector can't wait to be quit of the whole thing, and chief suspects begin to pop up everywhere. Editorial reviews: “Something quite out of the ordinary.” Daily Telegraph “Joyce Porter is a joy ... Dover is unquestionably the most entertaining detective in fiction.” Guardian “Plotted with the technique of a virtuoso.” New York Times “Wonderfully funny.” Spectator “Dover is wildly, joyously unbelievable; and may he remain so for our comic delight.” Sun “Porter has a keen eye, a wicked sense of comedy, and a delightfully low mind.” Harper’s
Colorful characters with murderous motives populate this illustrated mystery in which the heated rivalry between a pair of cartoonists ends in homicide and a stripper-turned-detective and her stepson-partner seek the killer. "Great fun." — Mystery Scene.
Like the mythic cities of Gotham or Gomorrah, London, Ontario was for many years an unrivalled breeding ground of depravity and villainy, the difference being that its monsters were all too real. In its coming to inherit the unwanted distinction of being the serial killer capital of not just Canada—but apparently also the world during this dark age in the city’s sordid history— the crimes seen in London over this quarter-century period remain unparalleled and for the most part unsolved. From the earliest documented case of homicidal copycatting in Canada, to the fact that at any given time up to six serial killers were operating at once in the deceivingly serene “Forest City,” London was once a place that on the surface presented a veneer of normality when beneath that surface dark things would whisper and stir. Through it all, a lone detective would go on to spend the rest of his life fighting against impossible odds to protect the city against a tidal wave of violence that few ever saw coming, and which to this day even fewer choose to remember. With his death in 2011, he took these demons to his grave with him but with a twist—a time capsule hidden in his basement, and which he intended to one day be opened. Contained inside: a secret cache of his diaries, reports, photographs, and hunches that might allow a new generation of sleuths to pick up where he left off, carry on his fight, and ultimately bring the killers to justice—killers that in many cases are still out there. Murder City is an explosive book over fifty years in the making, and is the history of London, Ontario as never told before. Stranger than fiction, tragic, ironic, horrifying, yet also inspiring, this is the true story of one city under siege, and a book that marks a game changer for the true crime genre.
One of the most famous literary works of the 20th century, the novella “Death in Venice” embodies themes that preoccupied Thomas Mann (1875–1955) in much of his work; the duality of art and life, the presence of death and disintegration in the midst of existence, the connection between love and suffering, and the conflict between the artist and his inner self. Mann’s handling of these concerns in this story of a middle-aged German writer, torn by his passion for a Polish youth met on holiday in Venice, resulted in a work of great psychological intensity and tragic power.
Detective Chief Inspector Wilfred Dover is the most idle and avaricious hero in all of crime fiction. Why should he even be bothered to solve the case? It seemed that everyone in the bleak little village of Thornwich had been honoured with the most obscene poison pen letters imaginable. And they showed no signs of letting up. So off goes Chief Inspector Dover of Scotland Yard, his unfortunate young colleague MacGregor in tow, to track down the source. Not-so-comfortably ensconced in the miserable lodgings of the Jolly Sailor, Dover's easy confidence is shaken when he suddenly has to deal with two suicides – one attempted, the other all-too-successful – black-market babies, and various bowel disorders. When the second suicide begins to look more like murder, however, it is only a matter of time before Dover comes face-to-face with a most determined, and totally unlikely killer. Editorial reviews: “Something quite out of the ordinary.” Daily Telegraph “Joyce Porter is a joy... Dover is unquestionably the most entertaining detective in fiction.” Guardian “Plotted with the technique of a virtuoso.” New York Times “Wonderfully funny.” Spectator “Dover is wildly, joyously unbelievable; and may he remain so for our comic delight.” Sun “You will be fascinated by his sheer dazzling incompetence. Porter has a keen eye, a wicked sense of comedy, and a delightfully low mind.” Harper’s
Distinguished physicist examines emotive significance of time, time order of mechanics, time direction of thermodynamics and microstatistics, time direction of macrostatistics, time of quantum physics, more. 1971 edition.
Riveting combination of true crime and social history examines a dozen famous cases, offering illuminating details of the accused women's backgrounds, deeds, and trials. "Vividly written, meticulously researched." — Choice.
A collection of True Crime stories...When does an enjoyment of varied interests become a double life? That is a question pertinent to the tragic and strange tale of Roseann Quinn. Many will be familiar with this name, even though her death dates back three and a half decades. That is because the case of Roseann Quinn is the one behind the well known 1977 film, 'Looking for Mr Goodbar', which starred Diane Keaton.It is also the inspiration for Judith Rossner's slightly less well known but still best selling novel of the same name, and the account by the New York Times journalist, Lacey Fosburgh (called 'Closing Time: The True Story of the Goodbar Murder.')Sometimes, it can be tricky to understand why some crimes make their way to the eye of popular culture and other, equally tragic, events fail to do so. Although, of course, every death is a tragedy for someone. But in the case of Roseann, the answer is clear to see.