Mystery, shenanigans, a nosey neighbor, and a little hanky panky. When Mars Cannon meets a male exotic dancer, all decent thoughts fly out the window . . . until reality hits. And it hits hard! He has a secret and a long list of aliases. He’s not what he seems and Mars is dragged into a killer’s path. Mars needs to outsmart an irresistible man and outrun a killer, all while pulling off her friend’s wedding without a hitch. Unfortunately, when it comes to the exotic dancer, she just can’t say no. Fans of Janet Evanovich will love this fun dive into the criminal underworld with feisty sidekicks and hilarious encounters. It’s mystery, romance, and comedy all rolled up into one nail-biting, laugh-out-loud adventure. Get your copy today!

DI David Vogel is first on the scene when Melanie Cooke’s bruised and strangled body is discovered in Bristol’s red-light district. The evidence points to Melanie’s father being the killer, but Vogel’s on edge. The quick arrest is too easy, too straightforward. When two new murders are reported, Vogel’s team broaden the search: new evidence suggests that there are three different, disturbed criminals. Any one of them could have killed Melanie, but which one did? Vogel’s team inch towards the answer, never suspecting that the killer is watching them too, waiting for his moment to strike.

As the intelligence specialist for A-Tac, a black-ops CIA unit masquerading as Ivy League faculty, Hannah Marshall is used to working behind the scenes. But when a brutal murder hits too close to home, Hannah finds herself in the middle of the action, falling in love while racing to outwit a sadistic mastermind. A KILLER CLOSES IN After the death of her A-Tac partner, Hannah doubts everything she thought she knew about love and loyalty. When handsome Harrison Blake joins the team, she’s reluctant to trust him—or to act on her intense attraction to him. Then Hannah receives a podcast of a gruesome murder, and the only person who can help her find the killer is Harrison. Harrison has spent years trying to hunt down the cunning monster who killed his sister. Now investigating with Hannah, he faces a shocking possibility—his sister’s murderer has resurfaced. As the danger escalates, Hannah and Harrison grow closer, and the desire simmering between them ignites. After Hannah disappears, Harrison has only one chance to save the woman he loves.

The Deadly Dance continues the tradition in M. C. Beaton's beloved Agatha Raisin cozy mystery series—now a hit show on Acorn TV and public television. Bossy, impulsive, and unlucky in love, the all-too-human Agatha Raisin has proved to be a surprisingly effective---and endearing---amateur sleuth. But can Agatha make it as a private investigator? After getting mugged on vacation, in what she will always think of as the Paris Incident, she decides to find out. Agatha soon learns that running her own detective agency in the Cotswolds is not quite like starring in a Raymond Chandler movie. Instead of dames in distress with big shoulder pads, her clients are ladies with missing cats and a man whose son has run off with his car. Agatha even worries that she might be outclassed by her sixty-seven-year-old secretary, Emma Comfrey. But then wealthy divorcée Catherine Laggat-Brown walks in with their first "real" case. Mrs. Laggat-Brown's daughter has received a death threat, and when Agatha thwarts an attack on the girl at a dinner dance, she recognizes an opportunity to show what Raisin Investigations can do. Even better, the case gives her a chance to reunite with her long-absent friend, Sir Charles Fraith. As they scour the Cotswolds in search of leads, Charles' insights prove invaluable and his charms irresistible, leading poor Emma to fall madly in love with him. As ever, Agatha bumbles her way through the case, trying her friends' patience and flirting shamelessly with the chief suspect. Will she put her tiny agency on the map, or has even the outrageous Agatha finally bitten off more than she can chew?

Sex, Money and Murder in 1980s LA and New York: In 1987 a heroin addict murdered an Emmy Award-winning choreographer in Manhattan. Then a wealthy LA surgeon and his teenaged son were targeted. In 1991, an out-of-work redneck flew to London with cyanide to poison three members of a male exotic dance review. If the poison didn't work, he was told to use a hammer to beat them to death. Who was behind these seemingly unrelated horrific crimes? Deadly Dance tells the fascinating story of Steve Banerjee, founder and owner of the smash LA nightclub, Chippendales. In the post-pill, pre-AIDS, sex-filled LA club scene of the 1980s, celebrities, desperate housewives and wild bachelorettes converged on one place: Chippendales-and behind it all was arson, the Mob and murder.

A gripping tale of one of history's most bizarre events, and what it reveals about the strange possibilities of human nature In the searing July heat of 1518, Frau Troffea stepped into the streets of Strasbourg and began to dance. Bathed in sweat, she continued to dance. Overcome with exhaustion, she stopped, and then resumed her solitary jig a few hours later. Over the next two months, roughly four hundred people succumbed to the same agonizing compulsion. At its peak, the epidemic claimed the lives of fifteen men, women, and children a day. Possibly 100 people danced to their deaths in one of the most bizarre and terrifying plagues in history. John Waller compellingly evokes the sights, sounds, and aromas; the diseases and hardships; the fervent supernaturalism and the desperate hedonism of the late medieval world. Based on new evidence, he explains why the plague occurred and how it came to an end. In doing so, he sheds light on the strangest capabilities of the human mind and on our own susceptibility to mass hysteria.

The age of high tech is haunted by an image from the last century that developed in the three decades between the patenting of the cinematographe and its turn toward sound: the dancing machine, paradox of the ease of mechanization and its tortures, embodiment of the motor and the automaton, image of fusion and fragmentation. An excavation of this image, in the historical context of maximum productivity and mechanical reproducibility, reveals its development in European Modernism--Modernism drawn to dancers of American, African, and Asian origins, to Taylorism as well as to Primitivism, to cinema and to myth. This book traces the abstraction and anonymity of the bodies making machines dance, in the codes of modernisms graphic and choreographic, and in the streamlined gestures of industry, avant-garde art, and entertainment. What surfaces is dance’s centrality to machine aesthetics and to its alternatives, as well as to the early elaboration of the machine that would become the ultimate guarantor of modern dance’s de-mechanization, the motion picture camera.