As seen on Woman's Hour, BBC Newsnight and in the Daily Telegraph A hundred years ago, on the night of 3 October 1922, a thirty-two-year-old clerk named Percy Thompson was stabbed to death as he walked home to his suburban villa in Ilford. With him was his wife, twenty-eight-year-old Edith. His killer was Edith’s lover: Frederick Bywaters, a merchant seaman aged twenty. Bywaters was hanged for murder on 9 January 1923. So too was Edith Thompson. There was no evidence, of any kind, that she was involved with the killing. What condemned Edith were the letters that she had written to her lover, which were interpreted by the law as incitement to murder. These letters are remarkable documents. Charged with the vitality of Edith's voice, they are moving, perplexing, maddening, banal, spectacularly sensual, infused with a stream-of-consciousness immediacy. And they have never been collected in print, until now. In Au Revoir Now Darlint Laura Thompson – author of the CWA Gold Dagger-shortlisted Rex vs Edith Thompson – gathers the letters together alongside illuminating commentary to tell the story of an ordinary life and an extraordinary imagination that ultimately led to appalling tragedy.

A gripping legal thriller by the Edgar Award–winning author who wrote the Peter Duluth Mysteries as Patrick Quentin. Patrick Quentin, best known for the Peter Duluth puzzle mysteries, also penned outstanding detective novels from the 1930s through the 1960s under other pseudonyms, including Q. Patrick and Jonathan Stagge. Anthony Boucher wrote: “Quentin is particularly noted for the enviable polish and grace which make him one of the leading American fabricants of the murderous comedy of manners; but this surface smoothness conceals intricate and meticulous plot construction as faultless as that of Agatha Christie.” There was nothing apparently remarkable about Percy Thompson and his wife, Edith. But when Percy is savagely stabbed to death, the proper appearance of their marriage collapses, revealing a dark side that will become the scandal of the nation. For behind their bland suburban veneer was a relationship already fractured by petty jealousy and a wife’s desire for more out of life. A desire that was satisfied by young Frederick Bywaters, who found himself under Edith’s spell almost immediately and would follow his devotion to the end of a rope—all the while proclaiming Edith’s innocence. Written as both a compelling thriller and an observation of the law, morality, and the crushing weight of public opinion, The Girl on the Gallows is a classic chronicle of blinding love, cold-blooded murder, and inevitable justice.

'Glorious – funny and wry and wise, and utterly its own lawmaker' Robert Macfarlane 'A rich, strange, oddly glorious brew' Guardian Longlisted for the Wainwright Golden Beer Book Prize 2018 21st-Century Yokel is not quite nature writing, not quite a family memoir, not quite a book about walking, not quite a collection of humorous essays, but a bit of all five. Thick with owls and badgers, oak trees and wood piles, scarecrows and ghosts, and Tom Cox's loud and excitable dad, this book is full of the folklore of several counties – the ancient kind and the everyday variety – as well as wild places, mystical spots and curious objects. Emerging from this focus on the detail are themes that are broader and bigger and more important than ever. Tom's writing treads a new path, one that has a lot in common with a rambling country walk; it's bewitched by fresh air and big skies, intrepid in minor ways, haunted by weather and old stories and the spooky edges of the outdoors, restless and prone to a few detours, but it always reaches its destination in the end.

It has been one hundred years since Agatha Christie wrote her first novel and created the formidable Hercule Poirot. A brilliant and award winning biographer, Laura Thompson now turns her sharp eye to Agatha Christie. Arguably the greatest crime writer in the world, Christie's books still sell over four million copies each year—more than thirty years after her death—and it shows no signs of slowing.But who was the woman behind these mystifying, yet eternally pleasing, puzzlers? Thompson reveals the Edwardian world in which Christie grew up, explores her relationships, including those with her two husbands and daughter, and investigates the many mysteries still surrounding Christie's life, most notably, her eleven-day disappearance in 1926.Agatha Christie is as mysterious as the stories she penned, and writing about her is a detection job in itself. With unprecedented access to all of Christie's letters, papers, and notebooks, as well as fresh and insightful interviews with her grandson, daughter, son-in-law and their living relations, Thompson is able to unravel not only the detailed workings of Christie's detective fiction, but the truth behind this mysterious woman.

This is a detailed account, told mainly in the form of the true letters and dairy notes of one young man s experience of World War II from the day he was called up to the day he returned home almost five years later. There are no heroics, no sex, and any drama is hidden between the lines. The letters to his wife, Gwen, are matter-of-fact, at times almost naive, but often with a touch of humour. They were written in uncomfortable and sometimes primitive conditions from barrack rooms in England, India and Malaya, from the crowded decks of troopships and as censored postcards and letters from Japanese POW Camps in Singapore, Taiwan and Japan. They appear exactly as written. Nothing added, nothing taken away. Parts of the Diary and other notes written during the first 19 months of captivity were confiscated by the Imperial Japanese Army in Tokyo. The remainder were hidden and brought safely home. Harry Berry's wife Gwen, never gave up hope even though it was 18 months from the fall of Singapore before she received news of her husband. She kept all his letters, without which this small insignificant slice of 20th century history would never have been preserved for posterity! "

This is a collection by diverse hands on the thematic, conceptual and contextual impact of time in and around Joyce's Finnegans Wake. In keeping with the practice of the Zürich James Joyce Foundation workshops, from one of which, over Easter 1992, the collection developed, many essays emphasize the local temporal textures of Finnegans Wake through close readings of individual passages. However, this does not preclude fruitful interaction with wider contexts and theoretical concerns. Two articles are detailed studies of social and political contemporary contexts with which Joyce's last work was in dialogue. Three more explore philosophical, psychological and scientific theories of time which Joyce exploited and transformed in his text. Two essays relate Finnegans Wake to discussions of time in French feminist and deconstructive theory: and finally, four essays concentrate on the temporality of composition - two apiece on each of the chronology of Joyce's early note-taking and draft processes. The collection should prove interesting to all readers and critics of Joyce as well as to critics concerned with the problem of historicizing and contextualising the temporally disruptive texts of high modernism and early postmodernism.

1333. Edward III is at war with Scotland. Nineteen-year-old Sir Harry de Lyon yearns to prove himself, and jumps at the chance when a powerful English baron, William Montagu, invites him on a secret mission with a dozen elite knights. They ride north, to a crumbling Scottish keep, capturing the feral, half-starved boy within and putting the other inhabitants to the sword. But nobody knows why the flower of English knighthood snuck over the border to capture a savage, dirty teenage boy. Montagu gives the boy to Harry as his squire, with only two rules: don't let him escape, and convert him to the English cause. At first, it's hopeless. The Scottish boy is surly and violent, and eats anything that isn't nailed down. Then Harry begins to notice things: that, as well as Gaelic, the boy speaks flawless French, with an accent much different from Harry's Norman one. That he can read Latin too. And when Harry finally convinces the boy – Iain mac Maíl Coluim – to cut his filthy curtain of hair, the face revealed is the most beautiful thing Harry has ever seen. With Iain as his squire, Harry wins tournament after tournament and becomes a favourite of the King. But underneath the pageantry smoulder twin secrets: Harry and Iain's growing passion for each other, and Iain's mysterious heritage. As England hurtles towards war once again, these secrets will destroy everything Harry holds dear.