From the bestselling author of the Mrs. Pollifax books comes a new mystery habit to acquire. From the moment Sister John and Sister Hyacinthe reach the old house left to their abbey by a mysterious benefactor, their cloistered world begins to crumble. First, there is the wounded man hiding in the house, then the suitcase stuffed with money sitting at the bottom of the well, not to mention fearful apparitions in the night. Lord only knows what's going on. That is, until the good sisters, armed only with their faith and boundless energy, set things right--even if it means a shocking revelation or two about ghosts, gangsters...and murder.

Sister John and Sister Hyacinthe are excited about the magnificent mansion given to their abbey by a mysterious benefactor, until they pull a suitcase full of money from the well, find a wounded man begging for sanctuary in the upstairs closet, and discover that the white powder in the pantry doesn't taste like sugar at all.

A New Yorker becomes ensnared by the eerie drama unfolding at a derelict New England family home in this charming mystery from the author of the Mrs. Pollifax novels. “Delightful . . . a suspenseful romp . . . highly recommended.”—Booklist At the request of his father, New York City novelist Andrew Thale tackles an odd assignment—to check out an old family property in Massachusetts, neglected since Aunt Harriet Thale’s death years ago. But far from being deserted, Thale’s Folly, as Andrew discovers, is fully inhabited—by a quartet of charming squatters, former “guests” of kindhearted Harriet. There is elegant Miss L’Hommedieu, Gussie the witch, Leo the bibliophile, and beautiful Tarragon, who is unlike any girl Andrew has ever met in Manhattan. Andrew is entranced by these unworldly creatures and their simple life. Yet all is not well in Thale’s Folly. A thief breaks into the farmhouse, an old friend of the “family” disappears, and Andrew and Tarragon are drawn into mysteries they cannot fathom. . . .

Curiosity about nuns and their distinctive clothing is almost as old as Catholicism itself. The habit intrigues the religious and the nonreligious alike, from medieval maidens to contemporary schoolboys, to feminists and other social critics. The first book to explore the symbolism of this attire, The Habit presents a visual gallery of the diverse forms of religious clothing and explains the principles and traditions that inspired them. More than just an eye-opening study of the symbolic significance of starched wimples, dark dresses, and flowing veils, The Habit is an incisive, engaging portrait of the roles nuns have and do play in the Catholic Church and in ministering to the needs of society. From the clothing seen in an eleventh-century monastery to the garb worn by nuns on picket lines during the 1960s, habits have always been designed to convey a specific image or ideal. The habits of the Benedictines and the Dominicans, for example, were specifically created to distinguish women who consecrated their lives to God; other habits reflected the sisters’ desire to blend in among the people they served. The brown Carmelite habit was rarely seen outside the monastery wall, while the Flying Nun turned the white winged cornette of the Daughters of Charity into a universally recognized icon. And when many religious abandoned habits in the 1960s and ’70s, it stirred a debate that continues today. Drawing on archival research and personal interviews with nuns all over the United States, Elizabeth Kuhns examines some of the gender and identity issues behind the controversy and brings to light the paradoxes the habit represents. For some, it epitomizes oppression and obsolescence; for others, it embodies the ultimate beauty and dignity of the vocation. Complete with extraordinary photographs, including images of the nineteenth century nuns’ silk bonnets to the simple gray dresses of the Sisters of Social Service, this evocative narrative explores the timeless symbolism of the habit and traces its evolution as a visual reflection of the changes in society.

With a broken marriage and a nervous breakdown barely behind her, Melissa sails for Europe. When a strange traveler urgently asks her to deliver a book to a secret address, Melissa agrees -- much against her better judgment. Soon Melissa realizes she's being followed. Her life is suddenly in danger. And as she finds herself forced to fight alone against an enemy she cannot understand, Melissa discovers something extraordinary about herself, something she never suspected . . .

Based on a popular magazine column this fictional,comedy/adventure stars femme top author Leslea,Newman and her beloved butch Flash from,Lesbianville, USA.

"This book is an exciting, well-organized overview of the evolution of a cultural icon: the nun-ensign Catalina de Erauso. . . . It will be of interest not only to Hispanists, but also to students of gender, theater, and film." -Anne J. Cruz, Professor of Spanish, University of Illinois, Chicago Catalina de Erauso (1592-1650) was a Basque noblewoman who, just before taking final vows to become a nun, escaped from the convent at San Sebastián, dressed as a man, and, in her own words, "went hither and thither, embarked, went into port, took to roving, slew, wounded, embezzled, and roamed about." Her long service fighting for the Spanish empire in Peru and Chile won her a soldier's pension and a papal dispensation to continue dressing in men's clothing. This theoretically informed study analyzes the many ways in which the "Lieutenant Nun" has been constructed, interpreted, marketed, and consumed by both the dominant and divergent cultures in Europe, Latin America, and the United States from the seventeenth century to the present. Sherry Velasco argues that the ways in which literary, theatrical, iconographic, and cinematic productions have transformed Erauso's life experience into a public spectacle show how transgender narratives expose and manipulate spectators' fears and desires. Her book thus reveals what happens when the private experience of a transgenderist is shifted to the public sphere and thereby marketed as a hybrid spectacle for the curious gaze of the general audience.