In nineteenth-century England, marriage between first cousins was both legally permitted and perfectly acceptable. After mid-century, laws did not explicitly penalize sexual relationships between parents and children, between siblings, or between grandparents and grandchildren. But for a widower to marry his deceased wife's sister was illegal on the grounds that it constituted incest. That these laws and the mores they reflect strike us today as wrongheaded indicates how much ideas about kinship, marriage, and incest have changed. In Family Likeness, Mary Jean Corbett shows how the domestic fiction of novelists including Jane Austen, Charlotte Brontë, George Eliot, Elizabeth Gaskell, and Virginia Woolf reflected the shifting boundaries of "family" and even helped refine those borders. Corbett takes up historically contingent and culturally variable notions of who is and is not a relative and whom one can and cannot marry. Her argument is informed by legal and political debates; texts in sociology and anthropology; and discussions on the biology of heredity, breeding, and eugenics. In Corbett's view, marriage within families—between cousins, in-laws, or adoptees—offered Victorian women, both real and fictional, an attractive alternative to romance with a stranger, not least because it allowed them to maintain and strengthen relations with other women within the family.

In a small Kent town in the 1950s, a bewildered little girl is growing up. Ostracised because of her colour, she tries her best to fit in, but nobody wants anything to do with her. A nanny climbs the steps of a smart London address. Sheâe(tm)s convinced that her connection to the family behind the door is more than professional. And on the walls of an English stately home, amongst the family portraits, hangs an eighteenth-century oil painting of a mysterious black woman in a silk gown. In ways both poignant and unexpected, the three lives are intertwined in a heartbreaking story of prejudice and motherless children, of chances missed, of war time secrets and the search for belonging...

Margaret Forster's grandmother died in 1936, taking many secrets to her grave. Where had she spent the first 23 years of her life? Who was the woman in black who paid her a mysterious visit shortly before her death? How had she borne living so close to an illegitimate daughter without acknowledging her? The search for answers took Margaret on a journey into her family’s past, examining not only her grandmother's life, but also her mother’s and her own. The result is both a moving, evocative memoir and a fascinating commentary on how women’s lives have changed over the past century.

A follow-up to In the Woods finds a traumatized detective Cassie Maddox struggling in her career and relationship with Sam O'Neill while investigating the unsettling murder of a young woman whose name matches an alias Cassie once had used as an undercover officer. 50,000 first printing.

"Margot Dalton's creativity dazzles…" —Bethany Campbell, bestselling author of See How They Run She "sold" her baby… Fifteen years ago desperate circumstances had forced Gina Mitchell to do the unthinkable. Give up her baby daughter hours after the birth. Now Alex Colton—a man she's never met—has checked in to Gina's bed-and-breakfast with his rebellious teenage daughter. One look at the girl and Gina knows she can no longer escape her past. Alex is a good father, but he's never told his daughter the circumstances of her birth, and he has no idea that his child—Gina's child—is living a nightmare. A nightmare only her birth mother can end. "Margot Dalton's creativity dazzles. She's a writer who always delivers probing characterization, ingenious plotting, riveting pace and impeccable craft. She can completely engage both the reader's mind and emotion. She's superb." —Bethany Campbell, bestselling author of See How They Run

Twenty years after witnessing the violent disappearances of two companions from their small Dublin suburb, detective Rob Ryan investigates a chillingly similar murder that takes place in the same wooded area, a case that forces him to piece together his traumatic memories.

The late Victorians had an insatiable appetite for the macabre and sensational: stories of murder and suspense, ghosts, the supernatural and the inexplicable were the stuff of life to them. The two writers in this volume well represent the last decade of the nineteenth century, and are of interest in themselves as well as for their contribution to the chilling of the Victorian spine. Mrs. Alfred Baldwin attempted as a child to contact her dead sister through a seance, and took to writing when stricken by a mysterious illness six weeks after marriage. She was also the mother of the Prime Minister, Stanley Baldwin. Lettice Galbraith is herself no less mysterious than the stories she wrote. She appeared on the literary scene in 1893, published a novel and two collections of stories in that year, a further story ("The Blue Room") in 1897, and then nothing more. Readers of 'The Empty Picture Frame', 'The Case of Sir Nigel Otterburne', 'The Trainer's Ghost' and 'The Seance Room' will recognise the Victorian spirit at its finest.