Blackmail in the Big Easy turns to cold-blooded murder in this debut cozy mystery perfect for fans of Jane K. Cleland. When the mysterious letter arrives by courier, Valerie Cooper doesn’t know what to make of it. She’s become the beneficiary of her late husband’s estranged uncle’s will—a man she never knew—and inherited a majority partnership in the family’s company, New Orleans Fine Antiques. Valerie knows nothing about antiques, but she decides to learn the business and become an active partner. She’s also got her hands full fending off Collette, a woman who wants to sell the huge old house in the Irish Channel neighborhood Valerie and her husband painstakingly renovated. Valerie isn’t interested in selling—but when her best friend Lauren, drags her to a costume party for the women’s Mardi Gras club, the Krewe of Athena, she stumbles over Collette’s body, a jeweled dagger sticking out of her chest. In a rush of panic, Valerie recognizes the dagger from her shop—and before she knows it, she’s become murder suspect number one. Egged on by Lauren, she starts digging into Collette’s business dealings, and the deeper she digs, the dirtier it gets. Now all fingers are pointing at Valerie. In a desperate bid to clear her name, Valerie frantically tries to find who could have gotten hold of the dagger. But among a cadre of guests in full costume, it could be impossible to find the thief—and unmask the real killer.

A searing anatomy of a New Orleans murder trial and a system of justice gone wrong. In a New Orleans supermarket parking lot in the fall of 1984 ,two disparate lives become inextricably bound for the next fourteen years. The first, the life of Delores Dye, a white housewife and grandmother. The second, a young black man with a gun in hand. Moments following their maybe not so chance encounter, Mrs. Dye lay dead on the sunbaked macadam, and the killer had made off with her purse, her groceries, and her car. Four days later, following a tip, authorities arrested a known drug dealer and father of five named Curtis Kyles. Kyles would then be tried for Mrs. Dye's murder an unprecedented five times, though he maintained his innocence throughout each trial. Convicted and sentenced to death in his second trial, he would spend fourteen years on death row. After a fifth jury was unable to reach a verdict, New Orleans Parish District Attorney Harry Connick, Sr., finally conceded defeat and dropped the murder charge. But the case slowly yielded a deeper drama: The crime turned out to have been the side effect of an intricately plotted act of revenge. That police and prosecutors may have been complicit in the vengeance that framed Kyles cuts to the heart of a system of justice for Southern blacks in the era since lynch mobs were shamed into obsolescence. A compellingly written legal drama that has at its heart passionate intrigue and justice gone awry. Desire Street is a 2006 Edgar Award Nominee for Best Fact Crime.

Dr. Mary Wells is a psychoanalyst, whose patient, Cecily Johnson, is playing the part of Stella in a new production of "A Streetcar Named Desire." Cecily gives the doctor two tickets to see a performance of the play. She invites Lt. John Franklin, a detective who is her lover, to accompany her. During a particularly rowdy scene, the sound of a shot is heard. The audience thinks it is part of the play, until the stage manager comes out and announces that a person has been shot back stage and the performance cannot continue. The murdered man is the actor playing Stanley Kowalski. Lt. Franklin takes on the case. After checking out the ballistics and interrogating the cast, he and Dr. Wells conclude that one of the actors in the play was the killer. They consider possible motives for the murder by each actor. Utilizing Dr. Wells' psychological expertise and Lt. Franklin's experience and perceptiveness, they are able to eliminate some performers, while others remain under suspicion. Through an idea of Dr. Wells to have the cast reenact the death scene, she and the Lieutenant are able to discover and apprehend the killer.

First in a new vet books mystery series, perfect for fans of cozy mysteries by Miranda James and Leann Sweeney! Veterinarian and amateur sleuth Kate Turner has her hands full trying to juggle two boyfriends, a thriving practice, and a criminal investigation It's the Christmas season and veterinarian Kate Turner is not feeling very jolly. She's overworked, unappreciated, and dealing with two dissatisfied clients. Throw in a very complicated personal life and Kate's definitely got a case of the holiday blues. To make matters worse, Kate's ex-boyfriend, Jeremy, is mugged and robbed after they have a heated argument in the hospital parking lot. Then, two of her dissatisfied clients turn up dead (which really gets Kate's tinsel in a tangle). All of these events seem like coincidences, but they add up to something much more venomous. Saddled with Murder is a cozy holiday mystery from beloved author Eileen Brady that explores the fragility and resiliency of animals and humans whose trust has been broken, and will keep animal-loving readers riveted until the last page.

A charismatic young soldier meets a tragic end in this moving and mesmerizing account of murder and suicide in New Orleans. Brown discovers that this tragedy--like so many others--could have been avoided.

New Orleans pastry chef Rita Lucero is out to bake her way to the top. But when she finds her almost-ex-husband killed with a chef's knife in his back, she becomes suspect number one. Now it's up to her to find the real killer before she winds up as the next victim served.

A fresh and fascinating look at the Evelyn Dick murder trial in the late forties and the intriguing mystery of her disappearance after leaving prison in 1958. A lively, spine-tingling account of the case itself and Evelyn Dick's surprising new life.

Everything you need to know about WJEC Eduqas' A-Level English Literature paper on The Duchess of Malfi and A Streetcar Named Desire in one approachable and engaging study guide. Includes tips on how to meet each of the assessment objectives, detailed discussions of key themes, advice on how to write a good essay and a full exemplar answer. Whilst other textbooks give you a general overview of a course or subject, Notable guides focus closely on a specific exam board, taking you through their requirements and demands, so that you know exactly how to achieve the very best grade possible. For more information, visit us at www.notableguides.co.uk.

The “villainous homosexual” has long stalked America’s cultural imagination, most explicitly in the figure of the queer murderer, a character in dozens of plays. But as society’s understanding of homosexuality has changed, so has the significance of these controversial characters, especially when employed by LGBT theater artists themselves to explore darker fears and desires. Murder Most Queer examines the shifting meanings of murderous LGBT characters in American theater over a century, showing how these representations wrestle with and ultimately subvert notions of gay villainy. Murder Most Queer works to expose the forces that create the homophobic paradigm that imagines sexual and gender nonconformity as dangerous and destructive and to show how theater artists—and for the most part LGBT theater artists—have rewritten and radically altered the significance of the homicidal homosexual. Jordan Schildcrout argues that these figures, far from being simple reiterations of a homophobic archetype, are complex and challenging characters who enact trenchant fantasies of empowerment, replacing the shame and stigma of the abject with the defiance and freedom of the outlaw, giving voice to rage and resistance. These bold characters also probe the darker anxieties and fears that can affect queer lives and relationships. Instead of sentencing them to the prison of negative representations, this book analyzes the meanings in their acts of murder, confronting the real fears and desires condensed in those dramatic acts.

Cinema-going was the most popular commercial leisure activity in the first half of the twentieth century, peaking in 1946 with 1.6 billion recorded admissions. Though ‘going to the pictures’ remained a popular pastime, the transition to peacetime altered citizens’ leisure habits. During the 1950s increased affluence, the growth of television ownership and the diversification of leisure led to rapid declines in attendance. Cinema attendances fell in all regions, but the speed, nature and extent of decline varied widely across the United Kingdom. By linking national developments to detailed case studies of Belfast and Sheffield, this book adds nuance to our understanding of regional variations in film exhibition, audience habits and cinema-going experiences during a period of profound social and cultural change. Drawing on a wide range of quantitative and qualitative sources, Cinema and Cinema-Going conveys the diverse nature of this important industry, and the significance of place as a determinant of film attendance in post-war Britain.