NATIONAL BESTSELLER • “A delightful cocktail that mixes elements of the Bridgerton series, Jane Austen’s Pride & Prejudice and Agatha Christie’s Miss Marple mysteries . . . The payoff is a wealth of wit, hilarity and suspense.”—People (Book of the Week) When a wealthy bachelor drops dead at a ball, a young lady takes on the decidedly improper role of detective in this action-packed debut comedy of manners and murder. This edition includes a reader’s guide and a sneak peek at Beatrice Steele’s return in A Terribly Nasty Business! Feisty, passionate Beatrice Steele has never fit the definition of a true lady, according to the strict code of conduct that reigns in Swampshire, her small English township: She is terrible at needlework, has absolutely no musical ability, and her artwork is so bad it frightens people. Nevertheless, she lives a perfectly agreeable life. But she harbors a dark secret: She is obsessed with true crime. If anyone in her etiquette-obsessed community found out, she’d be deemed a morbid creep and banished from respectable society forever. For her family’s sake, she’s vowed to put her obsession behind her. Eligible bachelor Edmund Croaksworth is set to attend the approaching autumnal ball, and the Steele family hopes that younger daughter Louisa will steal his heart. So Beatrice must be on her best behavior—a difficult challenge when a disgraced yet alluring detective inexplicably shows up to the ball. Beatrice is just holding things together when Croaksworth drops dead in the middle of a minuet. As a storm rages outside, the evening descends into a frenzy of panic, fear, and betrayal as it becomes clear that the guests are trapped with a killer. Contending with competitive card games, tricky tonics, and Swampshire’s infamous squelch holes, Beatrice must rise above decorum and decency to pursue justice and her own desires—before anyone else is murdered. A PUBLISHERS WEEKLY BEST BOOK OF THE YEAR
NATIONAL BESTSELLER • “A delightful cocktail that mixes elements of the Bridgerton series, Jane Austen’s Pride & Prejudice and Agatha Christie’s Miss Marple mysteries . . . The payoff is a wealth of wit, hilarity and suspense.”—People (Book of the Week) When a wealthy bachelor drops dead at a ball, a young lady takes on the decidedly improper role of detective in this action-packed debut comedy of manners and murder. This edition includes a reader’s guide and a sneak peek at Beatrice Steele’s return in A Terribly Nasty Business! Feisty, passionate Beatrice Steele has never fit the definition of a true lady, according to the strict code of conduct that reigns in Swampshire, her small English township: She is terrible at needlework, has absolutely no musical ability, and her artwork is so bad it frightens people. Nevertheless, she lives a perfectly agreeable life. But she harbors a dark secret: She is obsessed with true crime. If anyone in her etiquette-obsessed community found out, she’d be deemed a morbid creep and banished from respectable society forever. For her family’s sake, she’s vowed to put her obsession behind her. Eligible bachelor Edmund Croaksworth is set to attend the approaching autumnal ball, and the Steele family hopes that younger daughter Louisa will steal his heart. So Beatrice must be on her best behavior—a difficult challenge when a disgraced yet alluring detective inexplicably shows up to the ball. Beatrice is just holding things together when Croaksworth drops dead in the middle of a minuet. As a storm rages outside, the evening descends into a frenzy of panic, fear, and betrayal as it becomes clear that the guests are trapped with a killer. Contending with competitive card games, tricky tonics, and Swampshire’s infamous squelch holes, Beatrice must rise above decorum and decency to pursue justice and her own desires—before anyone else is murdered. A PUBLISHERS WEEKLY BEST BOOK OF THE YEAR
These "Genealogical Notes from Bermuda," were published serially in "Tyler's Quarterly" between 1942 and 1947 and have lain largely unnoticed by the genealogical researcher. The collected "Notes" consist of abstracts of the earliest known records of Bermuda settlers, and their value cannot be exaggerated, for many of the early settlers of Bermuda--or their descendants--removed to the mainland and were among the pioneer settlers of the Carolinas, Georgia, and Virginia. The records given here are arranged by family and appear thereunder in chronological sequence. They consist of a progression of abstracts of wills, administrations, deeds, court orders, indentures, arrival records, and so on, pertaining to every member of the family from the original immigrant up to as near the year 1700 as the records allow. Of paramount interest, however, are the compiler's own notes, which in many cases establish family relationships and carry the family backward to England and forward to the mainland. Altogether about 5,000 of the earliest settlers in the New World are identified--for the first time.
In the late nineteenth and early twentieth centuries depictions of New England flooded the American art scene. Childe Hassam, Willard Metcalf, Theodore Robinson, and Julian Weir, and other well-known artists produced images of quaint villages, agricultural labor, scenic rural churches, and the distinctive New England landscape. Julia B. Rosenbaum asks why and how a range of artists--including Impressionist and Modernist painters and sculptors--and exhibitors fashioned this particular vision of New England in their work. Against the backdrop of industrialization, immigration, and persistent post-Civil War sectionalism, many Americans yearned for national unity and identity. As Rosenbaum finds, New England emerged as symbolic of cultural and spiritual achievement and democratic values that served as an example for the nation. By addressing the struggles for national unity, the book offers a new interpretation of turn-of-the-century American art. Ultimately, Visions of Belonging demonstrates how the local became so important to the national; how art was crucial to the formation of national identity; and how internal nation building takes place within the realm of culture, as well as politics. And even as later artists, such as Georgia O'Keeffe, challenged New England's cultural hegemony, the appeal of linking regional identity to national ideals continued in distinctive ways.Beautifully illustrated with color plates and almost sixty halftones, Visions of Belonging explores the interplay between art objects and the shaping of loyalties and identities in a formative phase of American culture. It will appeal not only to art historians but also to anyone with an interest in nineteenth-century studies, the Gilded Age and Progressive Era, American studies, New England history and culture, and American cultural and intellectual history.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Thomas se leva d’un bond et la saisit par les poignets. - Tu es capable de tout, Julia. De jouer la comédie, d’assommer un homme d’une manchette et d’un tas d’autres choses aussi rocambolesques. Mais qui es-tu, bon sang ?
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Following Julia Strachey's death, her life-long friend Frances Partridge was presented with an extraordinary assortment of her papers. Combining material from this source and extracts from the correspondence between the two friends, this book presents an account of the life of a remarkable woman.
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