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When a Broadway producer is found dead in his luxurious apartment it is believed he choked on a cherry tomato. That he was not murdered is a surprise to the denizens of the Great White Way. The first of Agata Stanford's Dorothy Parker Mystery Series, takes you on a pictorial tour as you romp through the Manhattan of 1924 alongside real-life characters, writer and wit, Dorothy Parker, her adorable Boston terrier named Woodrow Wilson, Robert Benchley and the newspaper men of the Algonquin Round Table. Step out of your Silver Ghost Rolls to go on a scavenger hunt with the Marx Brothers, do the rounds of speakeasies, attend Broadway's opening nights, dance at the Waldorf, and then pull up your chair at the Algonquin Hotel's famous daily luncheon and enjoy a tossed salad of bon mots, all while sleuthing about for clues to find a killer.
An intriguing, unusual and chilling look at the destructiveness of racism in the U.S.
Officer Marcus Moscowicz is a small town policeman with dreams of making it to detective. One fateful night, shots ring out at the surprise birthday party of Great American Novelist Arthur Whitney and the writer is killed…fatally. With the nearest detective an hour away, Marcus jumps at the chance to prove his sleuthing skills—with the help of his silent partner, Lou. But whodunit? Did Dahlia Whitney, Arthur's scene-stealing wife, give him a big finish? Is Barrette Lewis, the prima ballerina, the prime suspect? Did Dr. Griff, the overly-friendly psychiatrist, make a frenemy? Marcus has only a short amount of time to find the killer and make his name before the real detective arrives… and the ice cream melts!
When Dian's husband becomes the prime suspect, Groucho and Frank once again find themselves playing detective."--BOOK JACKET.
A blow-by-blow, front-row-center account of the one night on Broadway and ongoing legacy of MOOSE MURDERS, "the golden standard of awfulness against which all theatre is judged."
When a Broadway producer is found dead in his luxurious apartment it is believed he choked on a cherry tomato. That he was not murdered is a surprise to the denizens of the Great White Way. The first of Agata Stanford's Dorothy Parker Mystery Series, takes you on a pictorial tour as you romp through the Manhattan of 1924 alongside real-life characters, writer and wit, Dorothy Parker, her adorable Boston terrier named Woodrow Wilson, Robert Benchley and the newspaper men of the Algonquin Round Table. Step out of your Silver Ghost Rolls to go on a scavenger hunt with the Marx Brothers, do the rounds of speakeasies, attend Broadway's opening nights, dance at the Waldorf, and then pull up your chair at the Algonquin Hotel's famous daily luncheon and enjoy a tossed salad of bon mots, all while sleuthing about for clues to find a killer.
In Cry of Murder on Broadway, Julie Miller shows how a woman's desperate attempt at murder came to momentarily embody the anger and anxiety felt by many people at a time of economic and social upheaval and expanding expectations for equal rights. On the evening of November 1, 1843, a young household servant named Amelia Norman attacked Henry Ballard, a prosperous merchant, on the steps of the new and luxurious Astor House Hotel. Agitated and distraught, Norman had followed Ballard down Broadway before confronting him at the door to the hotel. Taking out a folding knife, she stabbed him, just missing his heart. Ballard survived the attack, and the trial that followed created a sensation. Newspapers in New York and beyond followed the case eagerly, and crowds filled the courtroom every day. The prominent author and abolitionist Lydia Maria Child championed Norman and later included her story in her fiction and her writing on women's rights. The would-be murderer also attracted the support of politicians, journalists, and legal and moral reformers who saw her story as a vehicle to change the law as it related to "seduction" and to advocate for the rights of workers. Cry of Murder on Broadway describes how New Yorkers, besotted with the drama of the courtroom and the lurid stories of the penny press, followed the trial for entertainment. Throughout all this, Norman gained the sympathy of New Yorkers, in particular the jury, which acquitted her in less than ten minutes. Miller deftly weaves together Norman's story to show how, in one violent moment, she expressed all the anger that the women of the emerging movement for women's rights would soon express in words.