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'Brett performs his magic on the traditional cozy,making the frame rock with laughter at human foibles and quake with well-placed surprises' - Booklist Starred Review The genteel game of Real Tennis takes a murderous twist in Simon Brett's witty and entertaining new Fethering mystery Jude's life has been turned upside-down thanks her new man, Piers Targett, who's keen to get her involved in his hobby - or obsession - of Real Tennis. But when one of Piers' friends dies on the court in suspicious circumstances, Jude finds herself caught up in the police investigation. Meanwhile, Jude's neighbour Carole is trying to identify the human remains known locally as the 'Lady in the Lake.' As the two investigations become intertwined, Carole and Jude's efforts to find the truth look set to lead to more murders.
The genteel game of Real Tennis takes a murderous twist in Simon Brett's witty and entertaining new Fethering mystery - Jude's life has been turned upside-down thanks to her new man, Piers Targett, who's keen to get her involved in his hobby - or obsession - of Real Tennis. But when one of Piers' friends dies on the court in suspicious circumstances, Jude finds herself caught up in the police investigation. Meanwhile, Jude's neighbour Carole is trying to identify the human remains known locally as the 'Lady in the Lake.' As the two investigations become intertwined, Carole and Jude's efforts to find the truth look set to lead to more murders.
Summer Walsh an ex-detective leaves the police force and vacations on the beach. it was on her uncles golf course at the country club. Her uncle gets framed for the murder of Bonita Landry throws the whole town into a tailspin, creating suspicion in everyone. But Summer doesn't give up until she finds out who the murderer is.
After his grandfather dies, avid scholar and budding forensic investigator Cí Song begrudgingly gives up his studies to help his family. But when another tragedy strikes, he's forced to run and also deemed a fugitive. Dishonored, he has no choice but to accept work as a lowly gravedigger, a position that allows him to sharpen his corpse-reading skills. Soon, he can deduce whether a person killed himself--or was murdered. His prowess earns him notoriety, and Cí receives orders to unearth the perpetrator of a horrific series of mutilations and deaths at the Imperial Court. Cí's gruesome investigation quickly grows complicated thanks to old loyalties and the presence of an alluring, enigmatic woman. But he remains driven by his passion for truth--especially once the killings threaten to take down the Emperor himself. Inspired by Song Cí, considered to be the founding father of CSI-style forensic science, this harrowing novel set during the thirteenth-century Tsong Dynasty draws readers into a multilayered, ingenious plot as disturbing as it is fascinating. The Corpse Reader received the Zaragoza International Prize for best historical novel published in Spain (Premio Internacional de Novela Histórica Ciudad de Zaragoza). Antonio's previous novel, La Escriba, was published in 2008.
No matter when or where one starts telling the story of the battle of al-Qasr al-Kabir (August 4, 1578), the precipitating event for the formation of the Iberian Union, one always stumbles across dead bodies—rotting in the sun on abandoned battlefields, publicly displayed in marketplaces, exhumed and transported for political uses. A Grammar of the Corpse: Necroepistemology in the Early Modern Mediterranean proposes an approach to understanding how dead bodies anchored the construction of knowledge within early modern Mediterranean historiography. A Grammar of the Corpse argues that the presence of the corpse in historical narrative is not incidental. It fills a central gap in testimonial narrative: providing tangible evidence of the narrator’s reliability while provoking an affective response in the audience. The use of corpses as a source of narrative authority mobilizes what cultural historians, philosophers, and social anthropologists have pointed to as the latent power of the dead for generating social and political meaning and knowledge. A Grammar of the Corpse analyzes the literary, semiotic, and epistemological function these bodies serve within text and through language. It finds that corpses are indexically present and yet disturbingly absent, a tension that informs their fraught relationship to their narrators’ own bodies and makes them useful but subversive tools of communication and knowledge. A Grammar of the Corpse complements recent work in medieval and early modern Iberian and Mediterranean studies to account for the confessional, ethnic, linguistic, and political diversity of the region. By reading Arabic texts alongside Portuguese and Spanish accounts of this key event, the book responds to the fundamental provocation of Mediterranean studies to work beyond the linguistic limitations of modern national boundaries.
As a followup to Grave Consequences in Erlanger, KY., Mike Due once more takes true local histories along with exagerated fiction, and places them in a blender with the controls set to puree. The result is a satisfying mystery smoothie set against semi-true histories from the early 1980's in suburban Northern Kentucky. Once more, Detective Martin Weir is tasked with solving a bizarre murder where a man drops dead on a volleyball court during an all-important qualifier for the state tournament. The reader will strive to learn not only the identify of the corpse on the court, but also that of the murderer. Anyone who likes whimsical murder mysteries will enjoy this novel, as will anyone longing for a dose of nostalgia from 1981.
This book is open access under a CC BY 4.0 licence. This book analyses the different types of post-execution punishments and other aggravated execution practices, the reasons why they were advocated, and the decision, enshrined in the Murder Act of 1752, to make two post-execution punishments, dissection and gibbeting, an integral part of sentences for murder. It traces the origins of the Act, and then explores the ways in which Act was actually put into practice. After identifying the dominance of penal dissection throughout the period, it looks at the abandonment of burning at the stake in the 1790s, the rapid decline of hanging in chains just after 1800, and the final abandonment of both dissection and gibbeting in 1832 and 1834. It concludes that the Act, by creating differentiation in levels of penalty, played an important role within the broader capital punishment system well into the nineteenth century. While eighteenth- and early nineteenth-century historians have extensively studied the ‘Bloody Code’ and the resulting interactions around the ‘Hanging Tree’, they have largely ignored an important dimension of the capital punishment system – the courts extensive use of aggravated and post-execution punishments. With this book, Peter King aims to rectify this neglected historical phenomenon.
This classic by the Pulitzer Prize-winning author is her nonfiction masterpiece--a tale of life and death on Miami's streets, which she covered for 18 years for "The Miami Herald." Reissue.
‘King of the witty village mystery’ Daily Telegraph ‘Simon Brett writes stunning detective stories’ JILLY COOPER ‘A new Simon Brett is an event for mystery fans’ P. D. JAMES It wasn’t the rain that upset Fethering resident Carole Seddon during her walk on the Downs, or the dilapidated barn in which she was forced to seek shelter. No, what upset her was the human skeleton she discovered there, neatly packed into two blue fertiliser bags . . . Amateur sleuths Carole and Jude go to the small hamlet of Weldisham where gossips quickly identify the corpse as Tamsin Lutteridge, a young woman who disappeared from the village months before. But why is Tamsin’s mother so certain that her daughter is still alive? As Jude sets out to discover what really happened to Tamsin, Carole digs deeper into Weldisham’s history and the bitter relationships simmering beneath the village’s gentle facade.
A classic tale combining hints of the supernatural and an 'impossible' murder. The death of Miles Despard looks simple enough. But then how does the housekeeper see a woman walk through a wall? And how would someone walk through a door that had been bricked up two hundred years ago? To all intents and purposes, it looks as if someone has come from the past to commit the murder, but could that really be the case? Surely not...