Frances Wynn, the American-born Countess of Harleigh, enjoys more freedom as a widow than she did as a wife. With her young daughter in tow, Frances rents a home in Belgravia and prepares to welcome her sister, Lily, arriving from New York for her first London season. But no sooner has Frances begun her new life than the Metropolitan police receive an anonymous letter implicating Frances in her husband's death. Frances assures Inspector Delaney of her innocence, but she's also keen to keep him from learning the scandalous circumstances of Reggie's demise. As fate would have it, her dashing new neighbor, George Hazelton, is one of only two other people aware of the full story. While busy with social engagements on Lily's behalf, and worrying if Reggie really was murdered, Frances rallies her wits, a circle of gossips, and the ever-chivalrous Mr. Hazelton to uncover the truth. A killer is in their midst and Frances must unmask the villain before Lily's season, and their lives, come to a most unseemly end.

Jack Blackjack is ordered to eliminate a spy in Princess Elizabeth’s household in this engaging Tudor mystery. June, 1554. Former cutpurse and now professional assassin Jack Blackjack has deep misgivings about his latest assignment. He has been despatched to the Palace of Woodstock, where Queen Mary’s half-sister Princess Elizabeth is being kept under close guard. Jack’s employer has reason to believe that a spy has been installed within the princess’s household, and Jack has been ordered to kill her. Jack has no choice but to agree. But he arrives at Woodstock to discover that a murder has already been committed. As he sets out to prove his innocence by uncovering the real killer, Jack finds the palace to be a place steeped in misery and deceit; a hotbed of illicit love affairs, seething resentments, clashing egos and bitter jealousies. But who among Woodstock’s residents is hiding a deadly secret – and will Jack survive long enough to find out?

In the United States and Great Britain, 20-30% of all homicides involve the killing of a woman by a man. In When Men Murder Women, Dobash and Dobash - two seasoned researchers and longtime collaborators in the study of violence against women - reveal what they learned from a three-year study that included 866 homicide case files and 200 in-depth interviews with murderers in prison. They focus on intimate partner murder, sexual murder, and the murder of older women, and compare each of these three types with those in which men murder other men. Each type is examined in depth and detail in a separate section that begins with an overview of relevant research, and is followed by a comprehensive examination of the murder event and the lifecourse of the perpetrators. There has never before been a comprehensive book that has covered the entire scope of homicide cases in which men murder women. The result is this essential text for students, professionals, policy makers, and researchers studying violence, gender, and crime.

Not all monsters are fictional… What if Edgar Allan Poe hadn’t died in 1849? In this lushly detailed Gothic mystery the year is 1851 and the Master of the Macabre is the toast of England with his now-popular lecture series. But Poe’s bad luck returns during a stop in Oxford, leaving him implicated in the murder of a chambermaid. In desperation, Poe recruits brilliant young undergraduate Charles Dodgson (soon to be known as Lewis Carroll) to act as Watson to his Holmes. This unlikely pair of detectives must now track down a ruthless killer before Poe hangs for a crime he didn’t commit…

The Time Is Out of Joint handles the Shakespearean oeuvre from a philosophical perspective, finding that Shakespeare's historical dramas reflect on issues and reveal puzzles which were taken up by philosophy proper only in the centuries following them. Shakespeare's extraordinary handling of time and temporality, the difference between truth and fact, that of theory, and that of interpretation and revelatory truth are evaluated in terms of Shakespeare's own conjectural endeavors, and are compared with early modern, modern, and postmodern thought. Heller shows that modernity, which recognized itself in Shakespeare only from the time of Romanticism, found in Shakespeare's work a revelatory character which marked the end of both metaphysical system-building and a tragic reckoning with the inaccessibility of an absolute, timeless truth. Heller distinguishes the four stages found in constantly unique relation in Shakespeare's work (historical, personal, political, and existential) and probes their significance as time comes to fall 'out of joint' and may be again set aright. Rather than initially bestowing upon Shakespeare the dubious honorary title of philosopher, Heller probes the concretely situated reflections of characters who must face a blind and irrational fate either without taking responsibility for the discordance of time, or with a responsibility which may both transform history into politics, and set right the time which is out of joint. In the ruminations and undertakings of these characters, Shakespeare's dramas present a philosophy of history, a political philosophy, and a philosophy of (im)moral personality. Heller weighs each as distinctly modern confrontations with the possibility of truth and virtue within a human historical condition no less multifarious for its momentariness.