'If you like Kathy Reichs, you'll like Jefferson Bass' The Times. Dr Bill Brockton is leaving the Body Farm and heading to Europe for the most fascinating case of his career, The Bones of Avignon. But first, in this exclusive short story prequel, trouble awaits. Inspector René Descartes of the French National Police is awoken in the middle of the night to investigate a break-in at the Petit Palais in Avignon - the medieval town's museum. What Descartes discovers plunges him into a labyrinth of art-lined walls, leading to a master forger's lair. And inside, a charred corpse. And as he closes this case, he will be called to an altogether more intriguing death scene - and one of the greatest mysteries of human history.

Renowned bone detective Bill Brockton and his intrepid assistant, Miranda, are about to get immersed in murder and intrigue in Avignon, France, home of the popes for most of the fourteenth century. But first, in this artful prequel to The Inquisitor's Key, other mischief is afoot in the ancient walled city. Inspector René Descartes of the French National Police is roused from a deep sleep to investigate a break-in at the Petit Palais, Avignon's museum of medieval masterpieces. Descartes's discovery plunges him into an elaborate, art-lined labyrinth: a labyrinth that leads him to a master forger's studio . . . and to a charred corpse. Just as he's finally closing the case, Descartes gets called to an even more bizarre death scene, where his path—and his fate—will collide with those of Brockton and Miranda.

Winner of the Anthony Award for Best Novel, C is for Corpse is the third in the Kinsey Millhone mystery series by Sue Grafton. My name is Kinsey Millhone. I’m a licensed private investigator . . . thirty-two, twice divorced. I like being alone and I suspect that my independence suits me better than it should . . . Kinsey met Bobby Callahan in the gym on Monday morning. His story was hard to credit: a murderous assault by a tailgating car on a lonely rural road, a roadside smash into a canyon 400 feet below, his Porsche a ruin, his best friend dead, and his memory severely impaired. He was convinced someone was trying to kill him. By Thursday, he was dead. But Kinsey wasn’t going back on a deal. She had been hired to prevent a murder. Now she was looking for the murderer . . .

In the summer of 1990, Dr. Bill Brockton—a bright, ambitious young forensic scientist—is hired by the University of Tennessee to head, and to raise the profile of, the school's small Anthropology Department. Six months later, the ink on his contract barely dry, Brockton is called to a gruesome crime scene in a rural area to identify a corpse and determine how the woman died. But the case—one of Brockton's first murder investigations in Tennessee—could also prove to be his last when he runs afoul of both the county sheriff and an angry mob intent on administering their own swift, rough brand of "justice." With his back to the wall, Brockton is forced to think fast, talk faster, and hope for a miracle.

Picturing Death: 1200–1600 brings together essays considering four key centuries of imagery related to human mortality, from tomb sculpture to painted altarpieces, from manuscripts to printed books, and from minute carved objects to large-scale architecture.

Jacques Catteau's much-acclaimed book on Dostoyevsky, which has already received three literary prizes (and one medical) in France, appears here in English for the first time. It is an original and detailed attempt to re-examine Dostoyevsky the artist, tracing the creative process from its beginnings in the notebooks to its expression in the novels, and at the same time analysing the structures of time and space, the role of colour, and other important features of the texts.

This new series aims to explore the area of "e;screen music"e;. Volume topics will include multimedia music, music and television, Hollywood film music, and the music of Bollywood cinema.Music and other sound effects have been central to a whole host of media forms throughout the twentieth century, either as background, accompaniment, or main driving force. Such interactions will continue to mutate in new directions, with the widespread growth of digital technologies. Despite the expansion of research into the use of music and sound in film, the investigation of sonic interactions with other media forms has been a largely under-researched area. Music, Sound and Multimedia provides a unique study of how music and other sounds play a central part in our understandings and uses of a variety of communications media. It focuses on four areas of sound and music within broader multimedia forms - music videos, video game music, performance and presentation, and production and consumption - and addresses the centrality of such aural concerns within our everyday experiences. Charting historical developments, mapping contemporary patterns, and speculating on future possibilities, this book is essential for courses on sound and media within media and communications studies, cultural studies and popular music studies.Key features* Charts a number of key developments in music and multimedia interactions* Provides both historical overviews and theoretical analyses* Features a number of in-depth case studies of important issues.