A handsome young New York professor comes to Phoenix to research his new book. But when he's brutally murdered, police connect him to one of the world's most deadly drug cartels. This shouldn't be a case for historian-turned-deputy David Mapstone—except the victim has been dating David's sister-in-law Robin and now she's a target, too. David's wife Lindsey is in Washington with an elite anti-cyber terror unit and she makes one demand of him: protect Robin. This won't be an easy job with the city police suspicious of Robin and trying to pressure her. With the sheriff's office in turmoil, David is even more of an outsider. And the gangsters are able to outgun and outspend law enforcement. It doesn't help that David and Lindsey's long-distance marriage is under strain. But the danger is real and growing. To save Robin, David must leave his stack of historic crimes and plunge into the savage today world of smuggling—people, drugs, and guns—in Phoenix. Arizona's "History Shamus" returns in South Phoenix Rules. It's the most gripping and personal David Mapstone Mystery yet.
This fun romp covers it all—car chases, shootings, eccentric-uncles-turned-amateur-playwrights and end-of-the-world computer viruses."—Publishers Weekly Charley Fairfax—heiress, theatrical producer, newlywed—is intent on living happily ever after with her tall, dark, and sarcastic husband Jack. The only mysteries before her are which play to choose for next season and how to decorate her dining room. But when Jack is hired to investigate mysterious events at a local San Francisco software company where high-tech executives are brought low—actually, dead—Charley finds herself poised to do the unexpected. Charley has to get a job. Okay, so maybe the job is a sham and Jack isn't exactly crazy about the plan that she and her band of irregulars from the repertory theater go undercover to find a killer, but Charley is determined to trade in her Prada for a laptop. She quickly finds herself wishing she'd had more than one crash course in corporate double-speak before her first day on the job. But faking it has always been Charley's strong suit. Charley and Jack are starting to get the hang of this marriage thing. If only people would stop talking about babies, introducing them to decorators, and trying to kill them, they might even get to take a honeymoon.
Charley Fairfax—heiress, theatrical producer, newlywed—has every intention of living happily ever after with her tall, dark, and sarcastic husband Jack. The only mysteries she faces are which play to choose for next season and how to decorate her dining room. But when Jack is hired to investigate a suspicious death at a San Francisco software company, it quickly be-comes clear that high-tech has some low-life elements. The only way Charley knows how to help Jack involves doing something no-body thought she would ever do. Charley needs to get a job. It might be a problem that Charley and her band of irregulars from the repertory theater learned every-thing they know about the workplace from a production of How To Succeed In Business Without Really Trying, but that doesn’t stop them from going undercover to find a killer. And even though she’s only had one day’s training in corporate double-speak, Charley isn’t worried. Faking it has always been her strong suit. Charley and Jack are starting to get the hang of this marriage thing. If only people would stop talking about babies, introducing them to decorators, and trying to kill them, they might even get to take a honeymoon.
Rebecca "Becks" Mansfield has a boyfriend who sets her on the edge, a job catering to the whims of a cartoon vampire, and she's shortly to be a bridesmaid in the fairy-tale wedding from hell. How could this have happened to the brilliant, brash-talking, rising star of marketing? Her three best friends tell her she's "date lazy," settling for the men who require the least effort. Maybe Becks isn't trying hard enough, but the "one" she's looking for isn't the perfect man—it's the perfect job. Of course, you can't always get what you want—a fact that's about to become crystal clear to Becks Mansfield. But sometimes you get what you need.
When Nora Paige's movie-star husband leaves her for his latest co-star, she flees Hollywood to take refuge in San Francisco at the Palace, a historic movie theater that shows the classic films she loves. There she finds a band of misfit film buffs as well as some shady financial dealings, a ghost of a 1930's usherette, and the body of a murdered stranger.
Classic Movies, Ghostly Mischief, and Murder! Nora Paige is settling into her new life as manager of the Palace movie theater. She only has a few things to worry about. Like keeping the theater safely out of the clutches of an evil real estate developer, dealing with her staff of movie-obsessed misfits and their daily meltdowns, and hiding the fact that her new best friend Trixie is the ghost of an usherette who died in 1937. It would also be helpful if she could figure out whether she wants to take her charming-but-cheating husband back. But when someone close to the Palace is murdered, the only thing Nora really needs to worry about is finding the killer before they strike again. MURDER IN THE BALCONY by Margaret Dumas - A Henery Press Mystery. If you like one, you'll probably like them all.
The Malice Domestic anthology series returns with a new take on mysteries in the Agatha Christie tradition—original tales with a theatrical bent! Included are: Preface, by Ellen Hart The Rock Star, by Frances Aylor Perfectly Awry, by Anne Louise Bannon The Ghost in Balcony B, by Michele Bazan Reed Drama-Rama Flip Flop, by Cindy Brown It’s Not O.K. Corral, by M. E. Browning Mary-Alice Imagines Her Life as a Movie, by Karen Cantwell The Ghost of Hamnet, by R. M. Chastleton When the Wind is Southerly, by Leone Ciporin Raising Cain, by Carla Coupe Death of Another Hero, by Susan Daly The Stars Are Fire, by Phillip DePoy Death Plays the Palace, by Margaret Dumas The Homicidal Understudy, by Elizabeth Elwood No Final Act, by Daryl Wood Gerber Deus Ex Machina, by B. J. Graf The Nine Deaths in Hamlet?, by A. P. Jamison Heat Wave, by Maureen Jennings Thus With a Kiss, by Margaret Lucke Such Tricks As These, by Jaquelyn Lyman-Thomas Final Curtain, by Sharon Lynn The Mask, by Cheryl Marceau The Ultimate Tie-Breaker, by Deborah Maxey True Crime, by Adam Meyer A Star Goes Dark, by Raquel V. Reyes Not Your Lolita, by Merrilee Robson A Death in Shubert Alley, by Lee Sauer Dance on Fire, by Shawn Reilly Simmons Missed Cue, by Lynn Slaughter You Know How Actresses Are, by C. M. Surrisi Five Words, by Elaine Togneri Ask Fred the Usher, by Arthur Vidro Death Takes a Bow, by Mo Walsh Deal With the Devil, by James Lincoln Warren Method for Murder, by Carol L. Wright
Romancing the Novel examines the ways in which romance forms characteristic of boys' books - as exemplified in the novels of Scott, Dumas, Verne, and Stevenson - influence narratives not generally put in the same category - both psychoanalytical accounts of the psyche and novels by authors as diverse as George Eliot, Ursual Le Guin, Joseph Conrad, and W. G. Sebald. Adventure has been most recently studied largely as a symptom of imperialism's ideological apparatus. But as an intensely familiar story available from the earliest reading, adventure conditions the narratable - its influence is felt from the nursery bed to the analyst's couch. By reading Maurice Sendak with Melanie Klein and Peter Rabbit with Daniel Deronda, Romancing the Novel argues that the power and depth of the generic constraints of the adventure form have not been recognized simply because they are so ubiquitous. Adventure fiction is not merely summer reading whose ephemeral effects dissipate, but rather a pervasive code that exerts powerful effects on the imaginable.
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Why would a mother make her own child feel worthless and unwanted? All her life, Little Margaret had wondered why her mother didn't love her. No matter how hard she tried, she could never please her. The harder she tried, the worse things got. She never knew that there was deep-rooted reason for her animosity a secret that Little Margaret mustn't know and didn't know until it's too late. When she begins to probe the past, a harsh discovery makes her realize that no secret is ever worth its price What is this secret that you Don't Tell Little Margaret? Please also visit www.webreeds.com
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