In the latest Bridal Bouquet Shop mystery, florist Audrey Bloom creates an arrangement for a one-of-a-kind wedding, but ends up pruning a one-of-a-kind criminal… As the co-owner of the Rose in Bloom Flower Shop, Audrey knows how to put together unique wedding bouquets, but this one takes the cake. The daughter of a local historian is getting married in a medieval-themed, hand-fasting ceremony, and Audrey is responsible for providing period-accurate blooms. But making sure she gets her roses right turns out to be the least of Audrey’s problems. Shortly after the vows are exchanged, the father of the groom suddenly drops dead. When Audrey discovers the man’s death stems from monkshood poisoning, it’s a clear-cut case of murder. Now, faced with a suspect list that rivals the guest list, Audrey needs to root out the toxic killer…

Art Nouveau thrived from the late 1890s through the First World War. The international design movement reveled in curvilinear forms and both playful and macabre visions and had a deep impact on cinematic art direction, costuming, gender representation, genre, and theme. Though historians have long dismissed Art Nouveau as a decadent cultural mode, its tremendous afterlife in cinema proves otherwise. In Cinema by Design, Lucy Fischer traces Art Nouveau's long history in films from various decades and global locales, appreciating the movement's enduring avant-garde aesthetics and dynamic ideology. Fischer begins with the portrayal of women and nature in the magical "trick films" of the Spanish director Segundo de Chomón; the elite dress and décor design choices in Cecil B. DeMille's The Affairs of Anatol (1921); and the mise-en-scène of fantasy in Raoul Walsh's The Thief of Bagdad (1924). Reading Salome (1923), Fischer shows how the cinema offered an engaging frame for adapting the risqué works of Oscar Wilde and Aubrey Beardsley. Moving to the modern era, Fischer focuses on a series of dramatic films, including Michelangelo Antonioni's The Passenger (1975), that make creative use of the architecture of Antoni Gaudí; and several European works of horror—The Abominable Dr. Phibes (1971), Deep Red (1975), and The Strange Color of Your Body's Tears (2013)—in which Art Nouveau architecture and narrative supply unique resonances in scenes of terror. In later chapters, she examines films like Klimt (2006) that portray the style in relation to the art world and ends by discussing the Art Nouveau revival in 1960s cinema. Fischer's analysis brings into focus the partnership between Art Nouveau's fascination with the illogical and the unconventional and filmmakers' desire to upend viewers' perception of the world. Her work explains why an art movement embedded in modernist sensibilities can flourish in contemporary film through its visions of nature, gender, sexuality, and the exotic.

Deadly thorns lurk among the roses in this Bridal Bouquet Shop Mystery Florist Audrey Bloom, co-owner of the Rose in Bloom, creates fragrant bouquets for brides. But when a wedding goes fatally wrong, it’s up to Audrey to sniff out a killer . . . Everything is coming up roses for Audrey when her dazzling creations are picked to be featured on a wedding reality show. The hot series is filming an episode about a bride who’s bonkers for bells, and Audrey’s bouquets of campanulas, calla lilies, and Bells-of-Ireland are perfect for the bridal theme. But Audrey’s debut quickly becomes a hothouse of trouble. Her ex, Brad, shows up as a crew member on the show, threatening her blossoming relationship with Nick the baker. To make matters worse, when one of the show’s hosts is found dead in the bell tower of a historic church, all the evidence points toward Brad. Now Audrey needs to weed out the real killer before someone else’s chance at stardom is permanently nipped in the bud . . .

In this enlightening and entertaining book, one of the most original and sophisticated musicologists writing today turns his attention to music's most dramatic genre. Extending his ongoing project of clarifying music's various roles in Western society, Kramer brings to opera his distinctive and pioneering blend of historical concreteness and theoretical awareness. Opera is legendary for going to extremes, a tendency that has earned it a reputation for unreality. Opera and Modern Culture shows the reverse to be true. Kramer argues that for the past two centuries the preoccupation of a group of famous operas with the limits of supremacy and debasement helped to define a normality that seems the very opposite of the operatic. Exemplified in a series of beloved examples, a certain idea of opera—a fiction of opera—has contributed in key ways to the modern era's characterizations of desire, identity, and social order. Opera and Modern Culture exposes this process at work in operas by Richard Wagner, who put modernity on the agenda in ways no one after him could ignore, and by the young Richard Strauss. The book continues the initiative of much recent writing in treating opera as a multimedia rather than a primarily musical form. From Lohengrin and The Ring of the Niebelung to Salome and Elektra, it traces the rich interplay of operatic visions and voices and their contexts in the birth pangs of modern life.

Hotel Theory is two books in one: a meditation on the meaning of hotels, and a dime novel (Hotel Women) featuring Lana Turner and Liberace. Typical of Wayne Koestenbaum’s invigoratingly inventive style, the two books — one fiction, one nonfiction — run concurrently, in twin columns, and the articles “a,” “an,” and “the” never appear. The nonfiction ruminations on hotels are divided into eight dossiers, composed of short takes on the presence of hotels in the author’s dreams as well as in literature, film, and history. Guest stars include everyone from Oscar Wilde to Marilyn Monroe. Hotel Theory gives (divided) voice to an aesthetic of hyperaesthesia, of yearning. It is an oblique manifesto, the place where writing disappears. A new mode of theorizing — in fiction, in fragment, through quotation and palimpsest — arises in this dazzling work.

Just in time for the holidays, fans of Leslie Meier and Vicki Delany are going to want to pick up the charming third installment in Barbara Early’s Vintage Toy Shop mysteries. It’s all fun and games with toyshop owner Liz McCall until deadly secrets are unwrapped upon the eve of the holidays. Who knew? Liz McCall is not thrilled when her boyfriend Police Chief Ken Young introduces her to his estranged wife Marya. The model-quality Russian immigrant, back in East Aurora to rekindle their romance, will be working as a hairstylist at the barber shop next door to Well Played, the toyshop Liz manages for her dad. When Marya offers to help with the shop’s doll rehab project, Liz can’t help but offer up only a weak smile, but her secret hesitations are for naught when Marya’s body is discovered in the barber shop with a hair dryer cord wrapped around her neck. Liz’s dad, retired from the police force, is asked to investigate since Ken is the prime suspect.The whole town is abuzz with the scandal and Liz has a few questions of her own, wanting nothing more than to forget the loud argument she overheard between Marya and Ken the night before. There could have been other motives...Was Marya going to cut into a competing hairstylist business? Who is the bumbling private investigator hanging around and why won’t he explain himself? All eyes are on Liz, including those of an odd matryoshka doll in the shop which seems to move of its own accord, to unravel this entertaining riddle, wrapped in a mystery, inside an enigma that is Death of a Russian Doll, the third jolly Vintage Toy Shop mystery from Barbara Early.

Liz McCall has come to love running her father’s vintage toyshop back home in East Aurora, NY, so when the Train and Toy Show comes to town, she’s all aboard for a fun toy-filled weekend. The only hitch is that her childhood bully Craig McFadden, now local business rival, has set up a booth next to hers. But the fun and games are over when Craig falls from the ceiling in a publicity stunt gone wrong. What was initially thought to be a fatal accident proves much more sinister. Pulled into the case by her feelings for both Ken, the police chief, and Jack, her high school sweetheart whose brother is one the prime suspects, Liz dives headfirst into the investigation. But as she digs deeper, she’s shocked to learn her father may have been the intended target. The trouble train is barreling down and Liz may have just bought herself a first class ticket in Murder on the Toy Town Express, Barbara Early’s delightful second installment in her Vintage Toyshop mysteries.