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Sherlock Holmes is on the case when a month of strange happenings occur in the West End in March 1895 involving some of the theater district's most fashionable and creative luminaries.
New York Times Bestseller "As authentically, irresistibly gripping as anything Conan Doyle ever wrote…Don't miss it." —Cosmopolitan March 1895. London. A month of strange happenings in the West End. First there is the bizarre murder of theater critic Jonathan McCarthy. Then the lawsuit against the Marquess of Queensberry for libel; the public is scandalized. Next, the ingenue at the Savoy is discovered with her throat slashed. And a police surgeon disappears, taking two corpses with him. Some of the theater district's most fashionable and creative luminaries have been involved: a penniless stage critic and writer named Bernard Shaw; Ellen Terry, the gifted and beautiful actress; a suspicious box office clerk named Bram Stoker; an aging matinee idol, Henry Irving; an unscrupulous publisher calling himself Frank Harris; and a controversial wit by the name of Oscar Wilde. Scotland Yard is mystified by what appear to be unrelated cases, but to Sherlock Holmes the matter is elementary: a maniac is on the loose. His name is Jack.
Many critics and fans refer to the 1990s as the decade that horror forgot, with few notable entries in the genre. Yet horror went mainstream in the '90s by speaking to the anxieties of American youth during one of the country's most prosperous eras. No longer were films made on low budgets and dependent on devotees for success. Horror found its way onto magazine covers, fashion ads and CD soundtrack covers. "Girl power" feminism and a growing distaste for consumerism defined an audience that both embraced and rejected the commercial appeal of these films. This in-depth study examines the youth subculture and politics of the era, focusing on such films as Buffy the Vampire Slayer (1992), Scream (1996), I Know What You Did Last Summer (1997), Idle Hands (1999) and Cherry Falls (2000).
Relates the astounding and previously unknown collaboration between Sigmund Freud and Sherlock Holmes, as recorded by Holmes' friend and chronicler, Dr. John H. Watson.
A vivid and compelling memoir recounting the real lives, loves and friendship of 1940s Soho and its working girls. Barbara Tate was 17 when she heard the whispered word that would change her life: Soho. It would take four years for Barbara to escape her loveless home but when she finally made it to the forbidden streets of Soho - just as London was recovering from the trauma of the second world war - things would never be the same again. There the naive Barbara meets the beautiful and capricious Mae. When she takes a job as Mae's maid, Barbara imagines she'll be housekeeping. But down a shabby backstreet, Barbara discovers the secret lives of Soho's working girls. An astonishing world full of fierce friendships and bitter rivalries, dangerous men and desperate measures, Barbara soon learns that taking the money from a staggering supply of punters and making copious amounts of tea are only the bare essentials. She will need to be nursemaid, protector and confidante to impossible, adorable, self-destructive Mae.
In 1893, Sherlock Holmes and Henry James come to America together to solve the mystery of the 1885 death of Clover Adams, wife of the esteemed historian Henry Adams -- member of the Adams family that has given the United States two Presidents. Clover's suicide appears to be more than it at first seemed; the suspected foul play may involve matters of national importance. Holmes is currently on his Great Hiatus -- his three-year absence after Reichenbach Falls during which time the people of London believe him to be deceased. Holmes has faked his own death because, through his powers of ratiocination, the great detective has come to the conclusion that he is a fictional character. This leads to serious complications for James -- for if his esteemed fellow investigator is merely a work of fiction, what does that make him? And what can the master storyteller do to fight against the sinister power -- possibly named Moriarty -- that may or may not be controlling them from the shadows?
A companion to UEP’s Grand-Guignol: The French Theatre of Horror (now in its third reprint). A genre that has left more of a mark on British and American culture than we may imagine” (Gothic Studies). London’s Grand Guignol was established in the early 1920s at the Little Theatre in the West End. It was a high-profile venture that enjoyed popular success as much as critical controversy. On its side were some of the finest actors on the English stage, in the shape of Sybil Thorndike and Lewis Casson, and a team of extremely able writers, including Noël Coward. London's Grand Guignol and the Theatre of Horror considers the importance and influence of the English Grand Guignol within its social, cultural and historical contexts. It also presents a selection of ten remakarble English-language Grand Guignol plays, some of which were banned by the Lord Chamberlain, the censor of the day, and have never been published or publicly performed. Among the plays in the book is a previously unpublished work by Noël Coward, The Better Half, first performed at the Little Theatre in 1922. The reviewer in the journal Gothic Studies wrote, of the authors’ previous book: “having recently taught a module on Grand Guignol with third year drama students, it is also worth noting that this book captured their imaginations in a way that few other set texts seem to manage.”
From the New York Times bestselling author of The Only Good Indians, Stephen Graham Jones, comes a slasher story where a teen prank goes very wrong and all hell breaks loose in a small town. Winner of both the 2020 Bram Stoker and Shirley Jackson Awards! We thought we'd play a fun prank on her, and now most of us are dead. One last laugh for the summer as it winds down. One last prank just to scare a friend. Bringing a mannequin into a theater is just some harmless fun, right? Until it wakes up. Until it starts killing. Luckily, Sawyer has a plan. He’ll be a hero. He'll save everyone to the best of his ability. He'll do whatever he needs to so he can save the day. That's the thing about heroes—sometimes you have to become a monster first. "A fairy tale of impermanence showcasing Graham Jones’s signature style of smart, irreverent horror." —The New York Times At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.