Rebellion in the city, and a Royalist spy in his own ranks - Damian Seeker, Captain of Oliver Cromwell's guard, must eradicate both if the fragile Republic is not to fail. 'MacLean skilfully weaves together the disparate threads of her plot to create a gripping tale of crime and sedition in an unsettled city' Sunday Times 'MacLean's light touch portrait of a hard man with a softer core is what makes these books so memorable' The Times London, 1655, and Cromwell's regime is under threat from all sides. Damian Seeker, Captain of Cromwell's Guard, is all too aware of the danger facing Cromwell. Parliament resents his control of the Army while the Army resents his absolute power. In the east end of London, a group of religious fanatics plots rebellion. In the midst of all this, a stonemason uncovers a perfectly preserved body dressed in the robes of a Dominican friar, bricked up in a wall in the crumbling Black Friars. Ill-informed rumours and speculation abound, but Seeker instantly recognises the dead man. What he must discover is why he met such a hideous end, and what his connection was to the children who have started to disappear from around the city. Unravelling these mysteries is challenging enough, and made still harder by the activities of dissenters at home, Royalist plotters abroad and individuals who are not what they seem...

A bloody murder. An open and shut case? In Oliver Cromwell's London, nothing is as it seems - Captain Damian Seeker must battle to find justice, when an innocent man's life hangs in the balance. 'Challenges CJ Sansom for dominion of historical crime' Sunday Times 'The best historical crime novel of the year' Sunday Express London, 1654. Oliver Cromwell is at the height of his power and has declared himself Lord Protector. Yet he has many enemies, at home and abroad. London is a complex web of spies and merchants, priests and soldiers, exiles and assassins. One of the web's most fearsome spiders is Damian Seeker, agent of the Lord Protector. No one knows where Seeker comes from, who his family is, or even his real name. All that is known of him for certain is that he is utterly loyal to Cromwell, and that nothing can be long hidden from him. In the city, coffee houses are springing up, fashionable places where men may meet to plot and gossip. Suddenly they are ringing with news of a murder. John Winter, hero of Cromwell's all-powerful army, is dead, and the lawyer, Elias Ellingworth, found standing over the bleeding body, clutching a knife. Yet despite the damning evidence, Seeker is not convinced of Ellingworth's guilt. He will stop at nothing to bring the killer to justice: and Seeker knows better than any man where to search.

There’s Often a Fine Line Between a Criminal and a Saint Constable Jackson Forge intends to make the world safer, or at least the streets of Victorian London. But that’s Kit Turner’s domain, a swindler who runs a crew that acquires money the old-fashioned way—conning the rich to give to the poor. When a local cab driver goes missing, Jackson is tasked with finding the man, and the only way to do that is by enlisting Kit’s help. If Jackson doesn’t find the cabby, he’ll be fired. If Kit doesn’t help Jackson, he’ll arrest her for thievery. Yet neither of them realize those are the least of their problems.

In what ways did playwrights like Shakespeare respond to the two urban locations of the Globe and the Blackfriars? What was the effect of their different acoustic and visual experiences on actors and audiences? What did the labels 'public' for the Globe and 'private' for the Blackfriars, actually mean in practice? Sarah Dustagheer offers the first in-depth, comparative analysis of the performance conditions of the two sites. This engaging study examines how the social, urban, sensory and historical characteristics of these playhouses affected dramatists, audiences and actors. Each chapter provides new interpretations of seminal King's Men's works written as the company began to perform in both settings, including The Alchemist, The Tempest and Henry VIII. Presenting a rich and compelling account of the two early modern theatres, the book also suggests fresh insights into recent contemporary productions at Shakespeare's Globe, London and the new Sam Wanamaker Playhouse.

Winner of the Ted Hughes Award for New Work in Poetry 'This book should be required reading for anyone thinking of having a baby, or even anyone who knows someone who is thinking of having a baby' Scotland on Sunday 'Fascinating and honest' Mumsnet 'Like talking to a friend' Observer There were many things that Hollie McNish didn't know before she was pregnant. How her family and friends would react; that Mr Whippy would be off the menu; how quickly ice can melt on a stomach. These were on top of the many other things she didn't know about babies: how to stand while holding one; how to do a poetry gig with your baby as an audience member; how drum'n'bass can make a great lullaby. And that's before you even start on toddlers. But Hollie learned. And she's still learning, slowly. Nobody Told Me is a collection of poems and stories; Hollie's thoughts on raising a child in modern Britain, of trying to become a parent in modern Britain, of sex, commercialism, feeding, gender and of finding secret places to scream once in a while.

The Blackfriars Theatre, founded in 1940, was one of New York's first Off-Broadway playhouses. It was unique in another way: it was the only professional level theatre in the United States under Roman Catholic auspices. This book examines the efforts of the Blackfriars staff to meld theatre and religion between 1940 and 1972.