An Elizabethan spy chases a double agent across Europe in this historical mystery series debut—“Think James Bond for the 17th-century crowd” (Library Journal). At the dawn of the seventeenth century, England continues to be entangled in wars with Spain and Ireland for many years. The country crackles with unease in the waning years of Queen Elizabeth’s reign, and intelligencer Martin Marbeck has just received a vital message from his spymaster, Sir Robert Cecil: the existence of a spy has been discovered, a double agent code named Morera. A master of disguise and fluent in the argot of secrets and lies, Marbeck must uncover the true identity of this traitor quickly, while evading dangerous Spanish spies, before rumors of the young King Philip III forming a new Armada prove themselves to be true. “A gripping, entertaining page-turner.” —Booklist, starred review “[Pilkington’s] Tudor-era spy novel oozes intrigue and dramatically captures the unsettled mood of the times.” —Library Journal “Pilkington introduces an intriguing new hero in the dashing Marbeck in an eventful tale packed with the usual Elizabethan minutiae.” —Kirkus Reviews

Reproduction of the original: The Double-Dealer by William Congreve

Meet the little known and even less understood heroes of police work in Las Vegas -- the forensic investigators. Led by veteran Gil Grissom, the remarkable team assigned to the Criminalistics Bureau's graveyard shift -- including Catherine Willows, Warrick Brown, Nick Stokes, and Sara Sidle -- must combine cutting-edge scientific methods and old-fashioned savvy as they work to untangle the evidence behind the yellow police tape. While Nick and Catherine investigate a newly discovered fifteen-year-old murder, Grissom and the rest of the team must uncover the indentity of a cold-blooded killer -- one whose execution-style, "double-tap" signature has provoked the interest of FBI agent Rick Culpepper.

From the southern influence on nineteenth-century New York to the musical legacy of late-twentieth-century Athens, Georgia, to the cutting-edge cuisines of twenty-first-century Asheville, North Carolina, the bohemian South has long contested traditional views of the region. Yet, even as the fruits of this creative South have famously been celebrated, exported, and expropriated, the region long was labeled a cultural backwater. This timely and illuminating collection uses bohemia as a novel lens for reconsidering more traditional views of the South. Exploring wide-ranging locales, such as Athens, Austin, Black Mountain College, Knoxville, Memphis, New Orleans, and North Carolina's Research Triangle, each essay challenges popular interpretations of the South, while highlighting important bohemian sub- and countercultures. The Bohemian South provides an important perspective in the New South as an epicenter for progress, innovation, and experimentation. Contributors include Scott Barretta, Shawn Chandler Bingham, Jaime Cantrell, Jon Horne Carter, Alex Sayf Cummings, Lindsey A. Freeman, Grace E. Hale, Joanna Levin, Joshua Long, Daniel S. Margolies, Chris Offutt, Zandria F. Robinson, Allen Shelton, Daniel Cross Turner, Zackary Vernon, and Edward Whitley.

Every man has his dark side . . . Spero Lucas confronts his own in the most explosive thriller yet from one of America's best-loved crime writers. The job seems simple enough: retrieve the valuable painting -- "The Double" -- Grace Kinkaid's ex-boyfriend stole from her. It's the sort of thing Spero Lucas specializes in: finding what's missing, and doing it quietly. But Grace wants more. She wants Lucas to find the man who humiliated her -- a violent career criminal with a small gang of brutal thugs at his beck and call. Lucas is a man who knows how to get what he wants, whether it's a thief on the run -- or a married woman. In the midst of a steamy, passionate love affair that he knows can't last, in pursuit of a dangerous man who will stop at nothing to get what he wants, Lucas is forced to decide what kind of man he is -- and how far he'll go to get what he wants.

In the years following World War I, the New Orleans French Quarter attracted artists and writers with its low rents, faded charm, and colorful street life. By the 1920s Jackson Square had become the center of a vibrant if short-lived bohemia. A young William Faulkner and his roommate William Spratling, an artist who taught at Tulane University, resided among the "artful and crafty ones of the French Quarter." In Dixie Bohemia John Shelton Reed introduces Faulkner's circle of friends -- ranging from the distinguished Sherwood Anderson to a gender-bending Mardi Gras costume designer -- and brings to life the people and places of New Orleans in the Jazz Age. Reed begins with Faulkner and Spratling's self-published homage to their fellow bohemians, "Sherwood Anderson and Other Famous Creoles." The book contained 43 sketches of New Orleans artists, by Spratling, with captions and a short introduction by Faulkner. The title served as a rather obscure joke: Sherwood was not a Creole and neither were most of the people featured. But with Reed's commentary, these profiles serve as an entry into the world of artists and writers that dined on Decatur Street, attended masked balls, and blatantly ignored the Prohibition Act. These men and women also helped to establish New Orleans institutions such as the Double Dealer literary magazine, the Arts and Crafts Club, and Le Petit Theatre. But unlike most bohemias, the one in New Orleans existed as a whites-only affair. Though some of the bohemians were relatively progressive, and many employed African American material in their own work, few of them knew or cared about what was going on across town among the city's black intellectuals and artists. The positive developments from this French Quarter renaissance, however, attracted attention and visitors, inspiring the historic preservation and commercial revitalization that turned the area into a tourist destination. Predictably, this gentrification drove out many of the working artists and writers who had helped revive the area. As Reed points out, one resident who identified herself as an "artist" on the 1920 federal census gave her occupation in 1930 as "saleslady, real estate," reflecting the decline of an active artistic class. A charming and insightful glimpse into an era, Dixie Bohemia describes the writers, artists, poseurs, and hangers-on in the New Orleans art scene of the 1920s and illuminates how this dazzling world faded as quickly as it began.