"Ramsay skillfully weaves historical fact into his story, all the while blending brisk action with excellent characterization." —Publishers Weekly Elderly Jonathan Lydell III is proud of his lineage. He is related to the Virginia Lees and to the Custis family. For Lydell, family, status, and history are the only realities—that and his antebellum house. Lydell's house has a very colorful history, and Lydell is committed to restoring it to its pre-Civil War configuration, complete with a "stranger room." In the 1800s, many family homes sported these attached rooms with separate entrances and locks that were kept ready for unknown travelers. The intent was to protect the family from unsavory guests. Nearly 150 years ago, an inexplicable murder took place inside the Lydell's locked stranger room. The murderer was never caught. Lydell thinks this brutal history adds to the house's rich character. But when an identical murder is committed in the newly restored stranger room, even Sheriff Ike Schwartz and FBI agent Karl Hedrick can't explain it....

“One of the most addictive new series heroines since Stephanie Plum.”—The Atlanta Journal-Constitution Atlanta private investigator and ex–FBI profiler Keye Street wants nothing more than time alone with her boyfriend, Aaron—but, as usual, murder gets in the way. A.P.D. Lieutenant Aaron Rauser is called to the disturbing scene of the strangling death of a thirteen-year-old boy. Meanwhile, Keye, a recovering alcoholic, must deal with her emotionally fragile cousin, who has her own history of drug abuse and is now convinced that she is being stalked. But all hell breaks loose when another murder—the apparent hanging of an elderly man—hits disturbingly close to home for Keye. Though the two victims have almost nothing in common, there are bizarre similarities between this case and that of Aaron’s strangled teen. With the threat of more deaths to come, Keye works on pure instinct alone—and soon realizes that a killer is circling ever closer to the people she loves the most. Praise for Amanda Kyle Williams and Stranger in the Room “Keye Street remains the most interesting, cynically funny and smart series detective today. . . . The tension buzzes like cicadas on a hot Georgia night and the pace is relentless.”—Seattle Post-Intelligencer “The best fictional female P.I. since Sue Grafton’s Kinsey Millhone.”—The Plain Dealer “Keye Street immediately puts herself in the top echelon of suspense heroes. She’s a mess of fascinating contradictions—effortlessly brilliant on a case, totally inept in managing her own life. She is brutally funny and powerfully human—one of the most realistic protagonists in crime fiction that I’ve had the thrill to read.”—Tess Gerritsen, New York Times bestselling author of Last to Die “There’s a new voice in Atlanta, and her name is Amanda Kyle Williams—captivating, powerful and compelling.”—Julia Spencer-Fleming, New York Times bestselling author of One Was a Soldier “Readers of this fast-paced thriller will be eager for the next Street tale.”—Publishers Weekly

Welcome back once more to the Stranger's Room. The fire is blazing so help yourself to a brandy, pull up a chair to the fire and enjoy these tales from established and new Holmesian writers. Encompassing as they do tradition, humour and quirkiness, there is something for everyone. Enjoy! Featuring: David Ruffle, Danielle Gastineau, Soham Bagchi, Robert Perret, Mark Mower, David Marcum, Margaret Walsh, Anna Lord, Arthur Hall, Geri Schear, Jennifer Met, S F Bennett, Craig Janacek. Royalties from all the authors are being donated to Stepping Stones School at Undershaw.

Volume 2 includes more Sherlock Holmes and Watson tales collected by David Ruffle from writers around the world.

Elderly Jonathan Lydell III is proud of his family history. He is related to the Virginia Lees (both Light Horse Harry Lee and Robert E. Lee) and to the Custis family (the decendents of Martha Custis Washington). These connections don't seem to matter to the current generation. But for Lydell, family, status, and history are the only realities - that and his antebellum house. Lydell's house has a very colorful history. And Lydell is committed to restoring the home to its pre-Civil War configuration, complete with a ''stranger room.'' In the 1800s, many family homes sported attached stranger rooms that had separate entrances and locks, and were kept ready for unknown travelers. The intent was to protect the family from unsavory guests. But what of the travelers? Nearly 150 years ago, an inexplicable murder took place inside the Lydell's locked stranger room. The murderer was never caught. Lydell thinks this brutal history just adds to the house's rich character. But when an identical murder is committed in the newly restored stranger room, even Sheriff Ike Schwartz and FBI agent Karl Hedrick can't explain it. Why would history repeat itself? Is there a simple explanation? Or does the Lydell family history hold the key to the mystery?

Imagine waking up on a stranger’s bed remembering nothing of your past. Ravish does, and is warmly greeted by Neha. He has been muttering two names in his sleep: Kriti and Rohan. Ravish is an introvert associated with the technology world. Neha is an outrageously curious woman and a firm optimist. What brings them together? Who are Kriti and Rohan and what’s their story? Welcome to this tale of emotions and the fight against consequences of our desire.

Taking its title from Faulkner's epochal modernist novel, David Sherman's study traces the myriad ways death and its effect on the living defined modernist fiction and verse in England, Ireland, and the U.S. A focus on the disturbing but recurring image of the corpse allows Sherman to consider a range of texts marked by their sense of mortal fragility. Wilfred Owen's war poetry and Virginia Woolf's early novel Jacob's Room illustrate an incipient anxiety over new governmental techniques for efficiently managing the burial of the dead during World War I. Joyce's Ulysses and As I Lay Dying offer opportunities to consider narratives organized by the problem of an unburied corpse. Eliot's The Waste Land and Djuna Barnes's novel Nightwood, which Eliot edited, demonstrate how modernist writers often respond to death and the loss of corporality with erotic encounters at the moment mortality is most threatened. Two poems by William Carlos Williams and Wallace Stevens, in the monograph's concluding section, provide emblems for competing attitudes toward the disposal of the dead in the first half of the twentieth century. Enriched by insights from psychology, anthropology, and philosophy, In a Strange Room presents a richly textured transatlantic study of a defining aspect of modernist literature and culture.