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When Mr Stanroyd is found hanged in his own mill, his three young daughters are forced to realise that they are now mill-owners, a position quite unbecoming to a Victorian young lady. The eldest, the enchanting and redoubtable Severel, confides her hopes and fears - and the strange course of events - to her diary. Who killed whom? Which of the three girls married? Which of them was so shocked that she was deprived of speech? What happened to Uncle Eli and to raffish Cousin Bertie from Australia? Who was raped by whom? And who hanged dear Papa? 'Very rumbustious and buoyant' Scotsman
When Hector, which proves to be his name, comes to Helsinki, Finland, he's lost an ear and his memory. He turns up at the door of the embassy with a satchel full of money. The Ambassador, his secretary, a girl called Dolly Darling and an old man called Uncle Vanya try to put him together again, and in doing so find themselves in the centre of a strange adventure. 'Rich and strange, swimming with odd characters, alive with curious adventures' The Times
The man from nowhere arrives in the English village of Stargill on a windy October day carrying only a shabby canvas bag. Soon he settles in, gets a job at the sawmill and is considered a friend by the villagers. But one day he discovers the badly battered body of old Ma Perkins - owner of a modest store but reputed to have a bit put away. When it becomes obvious the murderer is a local person, the ranks begin to close against the man from nowhere. And when the first murder is followed by another violent death the village becomes frightened, suspicious and cruel. It wants, at all costs, to protect its own security. 'A charming oddity in the murder line' San Francisco Chronicle
A catch phrase is a well-known, frequently-used phrase or saying that has `caught on' or become popular over along period of time. It is often witty or philosophical and this Dictionary gathers together over 7,000 such phrases.
This volume examines contemporary reformulations of the ‘Final Girl’ in film, TV, literature and comic, expanding the discussion of the trope beyond the slasher subgenre. Focusing specifically on popular texts that emerged in the 21st century, the volume asks: What is the sociocultural context that facilitated the remarkable proliferation of the Final Girls? What kinds of stories are told in these narratives and can they help us make sense of feminism? What are the roles of literature and media in the reconsiderations of Carol J. Clover’s term of thirty years ago and how does this term continue to inform our understanding of popular culture? The contributors to this collection take up these concerns from diverse perspectives and with different answers, notably spanning theories of genre, posthumanism, gender, sexuality and race, as well as audience reception and spectatorship.
Roy Unithorne despised his wife ... Roy knew he was destined for a better life. It was Amy. Ugly Amy who kept him back. She must be disposed of finally and for ever; he set about making plans for the disposal slowly and systematically, making allowances, as he thought, for X - the Unknown Factor. And there was Mrs Shiplake. She was also beginning to interfere with his plans. She too must be got rid of. After all - two murders were as easy as one.
A catch phrase is a well-known, frequently-used phrase or saying that has `caught on' or become popular over along period of time. It is often witty or philosophical and this Dictionary gathers together over 7,000 such phrases.
After twenty years as a bank clerk, Leslie Williams can stand the daily round no longer. He plans a crime - nothing very heinous, nothing more than a little dishonesty and a lot of unkindness. Yet, once he has made the first fatal move, he finds himself gathered into a fantastic web of adventure, mischance and danger. The story takes place in London: the seedy hotel in Cromwell Road and the open-air market where he finds work as a salesman. And Leslie Williams is a man who has broken loose, who doesn't know quite what dangers are hunting him from the past, or what sense can be made of the present or future ... 'Imaginative, lively and picaresque' Maurice Richardson
There was no nonsense about old Mr Cumlock. When he decided to die, he died, maliciously leaving his fortune to an unknown son as an act of revenge. 'I can't live without a woman, and I can't live with one,' his heir, Valentine Belmont, an artist, used to complain; this difficulty that had dogged him throughout his life was to bring everything tumbling about him in a blaze of disorder. The events in his life had a fearful symmetry enacted, it seems, solely by the light of falling stars ... 'A first-rate study of malice, death and ancient feuds stewing in a small town' Birmingham Evening Mail