A princess is missing and a peace treaty is on the verge of collapse in this new Veronica Speedwell adventure from the New York Times bestselling and Edgar Award-nominated author Deanna Raybourn. January 1889. As the newest member of the Curiosity Club--an elite society of brilliant, intrepid women--Veronica Speedwell is excited to put her many skills to good use. As she assembles a memorial exhibition for pioneering mountain climber Alice Baker-Greene, Veronica discovers evidence that the recent death was not a tragic climbing accident but murder. Veronica and her natural historian beau, Stoker, tell the patron of the exhibit, Princess Gisela of Alpenwald, of their findings. With Europe on the verge of war, Gisela's chancellor, Count von Rechstein, does not want to make waves--and before Veronica and Stoker can figure out their next move, the princess disappears. Having noted Veronica's resemblance to the princess, von Rechstein begs her to pose as Gisela for the sake of the peace treaty that brought the princess to England. Veronica reluctantly agrees to the scheme. She and Stoker must work together to keep the treaty intact while navigating unwelcome advances, assassination attempts, and Veronica's own family--the royalty who has never claimed her.

A royal scandal’s connection to a brutal serial killer threatens London in this new Veronica Speedwell adventure from New York Times bestselling and Edgar® Award–nominated author Deanna Raybourn. Autumn 1888. Veronica Speedwell and her colleague Stoker are asked by Lady Wellingtonia Beauclerk to stop a potential scandal so explosive it threatens to rock the monarchy. Prince Albert Victor is a regular visitor to the most exclusive private club in London, and the proprietress, Madame Aurore, has received an expensive gift that can be traced back to the prince. Lady Wellie would like Veronica and Stoker to retrieve it from the club before scandal can break. Worse yet, London is being terrorized by what would become the most notorious and elusive serial killer in history, Jack the Ripper—and Lady Wellie suspects the prince may be responsible. Veronica and Stoker reluctantly agree to go undercover at Madame Auroreʼs high-class brothel, where a body soon turns up. Secrets are swirling around Veronica and the royal family—and it is up to Veronica and Stoker to find the truth, before it is too late for all of them.

A bride mysteriously disappears on her wedding day in the newest Veronica Speedwell adventure by the New York Times bestselling author of the Lady Julia Grey series. Lured by the promise of a rare and elusive butterfly, the intrepid Veronica Speedwell is persuaded by Lord Templeton-Vane, the brother of her colleague Stoker, to pose as his fiancée at a house party on a Cornish isle owned by his oldest friend, Malcolm Romilly. But Veronica soon learns that one question hangs over the party: What happened to Rosamund? Three years ago, Malcolm Romilly’s bride vanished on their wedding day, and no trace of her has ever been found. Now those who were closest to her have gathered, each a possible suspect in her disappearance. From the poison garden kept by Malcolm’s sister to the high towers of the family castle, the island’s atmosphere is full of shadows, and danger lurks around every corner. Determined to discover Rosamund’s fate, Veronica and Stoker match wits with a murderer who has already struck once and will not hesitate to kill again.…

Studies in the Rhetoric of Fiction investigates the contemporary novel’s relation to its forerunners, the picaresques, romances and sentimental novels of the 18th century. Henry Fielding, Laurence Sterne and Jane Austen are stable landmarks, while, of the contemporary practitioners, a handful recur from one chapter to the next, particularly Julian Barnes, Ian McEwan and Kazuo Ishiguro. The chapters share an interest in the rhetoric of fiction, broadly understood as the way in which fictional works achieve their effects on readers, whether by directly addressing a hypothetical reader, using irony and parody, orchestrating competitions between divergent narratives, imitating musical structures, inviting intertextual readings, or openly taking issue with traditional conventions and expectations. Chapters focusing on narrative strategy and metanarrative comment, therefore, alternate with those interrogating reading practices and readerly participation in the rhetorical interchange. This collection of essays however does not propose a consistent theory of the rhetoric of fiction; nor does it claim any generalisable validity for its findings. Rather, it consists of a series of readings that address various formal aspects of the novels they focus on, showing rhetoric in action, pointing out the complex ways in which its means and strategies change in time and across genres and media. It restores a sense that whatever old tricks the author or narrator is perceived to be up to, they are an invitation to the reader to take part in the fun. The book will appeal to students and scholars in the early stages of their research, encouraging readings that identify rhetorical strategies that challenge conventional forms and expectations. It is, therefore, largely free of rhetorical terminology, making sparing use of it when distinctions must be drawn and the more technical aspects of novels are interrogated.

Visiting a ladies-only club for intrepid women, Victorian adventuress Veronica Speedwell is challenged to save a society art patron from execution.