Newly divorced Faythe McBain lands a fabulous part in a TV mini-series--just what she needs to jump-start her acting career after 20 years. And the director, Ray Parnell, is the man she jilted for her former husband. Maybe this time, things will work out for the best . . . on and off the set.
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While many transnational histories of the nuclear arms race have been written, Kate Brown provides the first definitive account of the great plutonium disasters of the United States and the Soviet Union. She draws on official records and dozens of interviews to tell the extraordinary stories of Richland, Washington and Ozersk, Russia--the first two cities in the world to produce plutonium. To contain secrets, American and Soviet leaders created plutopias--communities of nuclear families living in highly-subsidized, limited-access atomic cities. Plutopia was successful because in its zoned-off isolation it appeared to deliver the promises of the American dream and Soviet communism; in reality, it concealed disasters that remain highly unstable and threatening today.
“I thought I had it all figured out and was totally wrong . . . a gem of a book that you can’t put down!” —Goodreads reviewer, five stars How do you catch a killer if you can’t identify the victim? A scene of crime officer collects the evidence piece by piece in this gritty British mystery. SOCO Maya Barton is called to a canal where a heavily decomposed male body has been discovered. A bank card belonging to Trevor Dawlish is found in the cadaver’s pocket, and the name matches that of a missing person. All seems straightforward—until Trevor’s wife phones the police to say that Trevor has returned home, leaving Maya and the team wondering who the unknown male is. When it’s revealed that the male was dead before he entered the water, Maya finds herself with a murder on her hands. But when another body is discovered, the case becomes further complicated. The hope is that facial reconstruction of the first victim will help solve the mystery—but it may lead Maya and her team down an even darker path. Praise for the Maya Barton series: “Bendelow proves her experience as a SOCO makes for a brilliant novel . . . stunning.” —Lynda La Plante, Edgar Award–winning author of Prime Suspect
A collection of three gripping crime novels from a real-life CSI . . . Definitely Dead Maya Barton has just embarked on her dream job as a scene-of-crime officer, and she’s already facing a tough challenge. When she attends her first dead-persons case, the post-mortem deems it to be non-suspicious and the case is closed. But despite the lack of evidence, she suspects a crime has been committed . . . “A brilliant novel . . . stunning.” —Lynda La Plante, Edgar Award–winning author of Prime Suspect Shattered Bones How do you catch a killer if you can’t identify the victim? SOCO Maya Barton is called to a canal where a decomposed male body has been discovered. A bank card belonging to Trevor Dawlish is found in the corpses’s pocket, and the name matches that of a missing person. All seems straightforward—until Trevor’s wife phones the police to say that Trevor has returned home . . . Flesh and Blood Maya Barton is an experienced SOCO—but gathering evidence after the crime’s been committed is one thing, and being targeted for murder is another. Now she must untangle her own dark past to solve her toughest case yet.
“Why are Kazakhstan and Montana the same place?” asks one chapter of Kate Brown’s surprising and unusual journey into the histories of places on the margins, overlooked or erased. It turns out that a ruined mining town in Kazakhstan and Butte, Montana—America’s largest environmental Superfund site—have much more in common than one would think thanks to similarities in climate, hucksterism, and the perseverance of their few hardy inhabitants. Taking readers to these and other unlikely locales, Dispatches from Dystopia delves into the very human and sometimes very fraught ways we come to understand a particular place, its people, and its history. In Dispatches from Dystopia, Brown wanders the Chernobyl Zone of Alienation, first on the Internet and then in person, to figure out which version—the real or the virtual—is the actual forgery. She also takes us to the basement of a hotel in Seattle to examine the personal possessions left in storage by Japanese-Americans on their way to internment camps in 1942. In Uman, Ukraine, we hide with Brown in a tree in order to witness the annual male-only Rosh Hashanah celebration of Hasidic Jews. In the Russian southern Urals, she speaks with the citizens of the small city of Kyshtym, where invisible radioactive pollutants have mysteriously blighted lives. Finally, Brown returns home to Elgin, Illinois, in the midwestern industrial rust belt to investigate the rise of “rustalgia” and the ways her formative experiences have inspired her obsession with modernist wastelands. Dispatches from Dystopia powerfully and movingly narrates the histories of locales that have been silenced, broken, or contaminated. In telling these previously unknown stories, Brown examines the making and unmaking of place, and the lives of the people who remain in the fragile landscapes that are left behind.
Kate Collingwood looks at the parish of Great Comberton in Worcestershire; how the village and its surrounding landscape came to look as it does today, drawing on published landscape history research and original manuscripts from the archives.
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