It’s up to Sally Solari to serve up a killer before their family restaurant’s reputation goes up in smoke. It’s early autumn in Santa Cruz and restaurateur Sally Solari decides an open-air painting class is the perfect way for her to learn more about Paul Gauguin, the inspiration for the restaurant she has recently inherited. But the beauty of the Monterey Bay coastline is shattered when Sally’s dog Buster sniffs out a corpse tangled up in kelp. The body is identified as Gino, a local fisherman and a regular at Solaris’ until he disappeared after dining there a few nights before. Witnesses claim he left reeling drunk, but his waitress swears the old man only had two beers with is meal. And then the fingers begin to point at Sally’s dad for negligently allowing an inebriated customer to walk home alone at night. From a long menu of suspects, including a cast of colorful characters who frequent the historic Santa Cruz fisherman’s wharf, Sally must serve up the tall order of clearing her father’s name in Death al Fresco, Leslie Karst’s third delectable Sally Solari mystery.

Restaurateur Sally Solari has a nose for trouble, but when her sense of smell goes missing, it's not just her career on the line . . . it's her life. Restaurateur Sally Solari is a champion, both in the kitchen and on the case, but after getting mixed up in one too many murders, she's noticed her nonna's friends have now taken to crossing themselves when they see her in the street. Adding to her woes, a sinus infection has knocked out her sense of smell, making cooking on the hot line difficult, indeed. Nevertheless, Sally is determined to stay out of trouble and focus on her work. But then her old acquaintance Neil Lerici is murdered at the annual Santa Cruz Artichoke Cook-Off, and her powers of investigation are called into action once more. Could Neil have been killed by the local restaurant owner who took his winning spot at the competition? Or maybe by one of his siblings, who were desperate to sell the family farm to a real estate developer? Sally plunges headfirst into the case, risking alienating everyone she knows - including the dapper Detective Vargas, who finds her sleuthing both infuriating and endearing. And soon it's not only her restaurant and tentative new relationship that are on the line - it's her life . . . The Fragrance of Death is a non-stop fun cozy mystery that will keep your mind buzzing and your mouth watering, and contains a selection of delicious recipes to cook at home.

The Cataclysm which destroyed Earth catches up with the fleeing survivors aboard Interstellar Ship One, and a young Colonial Corps Governor struggles against a harsh planetary environment and political opposition to establish a new colony. Additionally, the first generation of humans born away from Earth starts looking for trouble, and a desperate woman fights against Ice-Ship law for her right to be a mother.

Sally Solari is busy juggling work at her family’s Italian restaurant, Solari’s, and helping Javier plan the autumn menu for the restaurant she’s just inherited, Gauguin. Complicating this already hectic schedule, Sally joins her ex-boyfriend Eric’s chorus, which is performing a newly discovered version of her favorite composition: the Mozart Requiem. But then, at the first rehearsal, a tenor falls to his death on the church courtyard--and his soprano girlfriend is sure it wasn’t an accident. Now Sally's back on another murder case mixed in with a dash of revenge, a pinch of peril, and a suspicious stack of sheet music. And while tensions in the chorus heat up, so does the kitchen at Gauguin--set aflame right as Sally starts getting too close to the truth. Can Sally catch the killer before she’s burnt to a crisp, or will the case grow as cold as yesterday’s leftovers? In a stew of suspects and restaurateurs, trouble boils over in the second in Leslie Karst’s tasty and tantalizing Sally Solari mystery series, A Measure of Murder.

Personal and yet utterly universal, inevitable and yet unknowable, death has been a dominant theme in all cultures, since earliest times. Different societies address death and the act of dying in culturally diverse ways; yet, remarkably, across the span of several millennia, we can recognize in the customs of ancient Greece and Rome ceremonies and rituals that have enduring present-day resonance. For example, preparing the corpse of the deceased, holding a memorial service, the practice of cremation and of burial in 'resting places' are all liminal processes that can trace their origin to ancient practices. Such rites - described by Cicero and Herodotus, among others - have defined traditional modern funerals. Yet of late there has been a shift away from classical ritual and sombre memorialization as the dead are transformed into spectacles. Ad hoc roadside shrines, 'virtual' burials, online guest-books and even jazz memorial processions and firework displays have come to the fore as new modes of marking, even celebrating, bereavement. What is causing this change, and how do urbanisation, economic factors and the rise of individualism play a part? Mario Erasmo creatively explores the nexus between classical and contemporary approaches to dying, death and interment. From theme funerals in St Louis to Etruscan sarcophagi, he offers a rich and insightful discussion of finitude across the ages.

Moss is oceanic: his poems rise, crest, crash, and rise again like waves. His voice echoes the boom of the Old Testament, the fluty trill of Greek mythology, and the gongs of Chinese rituals as he writes about love, nature, war, oppression, and the miracle of language. He addresses the God of the Jews, of the Christians, and of the Muslims with awe and familiarity, and chants to lesser gods of his own invention. In every surprising poem, every song to life, beautiful life, Moss, by turns giddy and sorrowful, expresses a sacred sensuality and an earthy holiness. Or putting it another way: here is a mind operating in open air, unimpeded by fashion or forced thematic focus, profoundly catholic in perspective, at once accessible and erudite, inevitably compelling. All of which is to recommend Moss's ability to participate in and control thoroughly these poems while resisting the impulse to center himself in them. This differentiates his beautiful work from much contemporary breast-beating. Moss is an artist who embraces the possibilities of exultation, appreciation, reconciliation, of extreme tenderness. As such he lays down a commitment to a common, worldly morality toward which all beings gravitate.