Sisters Meg and Sarah Quilliam make sure guests feel right at home when they visit the Inn at Hemlock Falls. Located in upstate New York, Hemlock Falls is a small town renowned for its scenic beauty—and scenes of crime . . . Disaster strikes a mere week before the Hemlock Falls Ladies’ Auxiliary hosts the annual Spring Fete when the festival’s chairwoman—the redoubtable Adela Henry—gives up her job in a huff. Who’s going to judge the justly renowned Jell-O architecture contest? Or stop the members of the Craft Guild from sabotaging their rivals, the Crafty Ladies? More to the point, who’s got the tact, diplomacy, and iron will necessary to organize the booths and settle quarrels over the programming? Hemlock’s mayor hopes to assure the fete’s success when he recruits professional organizer Linda Connally and her staff to take over Adela’s duties. But when Connally’s body turns up in the trunk of a used car at Peterson’s Automotive, Meg and Sarah are back in the detecting business . . .

Pastor Michael of Ainsworth Baptist Church has taken several months away from his duties to enjoy a well-earned Sabbatical and so Sister Marjory Steeple, stalwart of the church, upholder of traditional values and all that is seemly and decent, has taken it upon herself to write regular letters to Pastor Michael to keep him up to date regarding what is going on during his absence. Sister Marjory also takes the opportunity in her correspondence to make helpful suggestions as to how the good pastor might best improve the running of the church upon his return, and ?nds it unexpectedly therapeutic to o?-load some of her own personal problems at the same time. These problems mainly revolve around her non-church going husband, George, and his unnerving obsession with his own funeral arrangements, their wayward son Christopher, and a blu? old cousin called Murgatroyd Thrip who is diligently (and against all the odds) following his calling to be a maverick missionary in far ?ung corners of the world. Strangely enough Pastor Michael does not seem to appreciate Sister Marjorys sel?ess sacri?ces and insightful suggestions quite as he should.

It's 1922 and Jack Haldean, young crime writer and former Royal Flying Corps pilot, is enjoying the local fete on a beautiful summer's day in rural Sussex. But then Jack's fellow officer, Jeremy Boscombe, is found dead in the fortune teller's tent and later the same day Boscombe's shady friend, Reggie Morton, is murdered in the village pub. Jack's search for the truth will lead him back to the Battle of the Somme and an act of terrible betrayal.

Packed full of beautiful black-and-white illustrations from author Chris Riddell, Goth Girl and the Fete Worse Than Death is the second in this ghostly, funny series from the Costa Award winner Chris Riddell. Preparations for the Ghastly-Gorm Garden Party and bake-off are under way. Celebrity cooks are arriving at the hall for the big event and, true to form, Maltravers, the indoor gamekeeper, is acting suspiciously. Very suspiciously . . . Elsewhere at Ghastly-Gorm, Ada's wardrobe-dwelling lady's maid Marylebone has received a marriage proposal. Ada vows to aid the course of true love – and find out what Maltravers is up to – but amidst all this activity, everyone, including her father, appears to have forgotten her birthday! Though they can be enjoyed in any order, continue this deliciously dark series with Goth Girl and the Wuthering Fright and Goth Girl and the Sinister Symphony.

Joshua's gallery 'Factual Nonsense' was quite unlike any other. Called a 'crazy powerhouse of ideas' it was a kind of cultural think-tank located in the then run-down East End area known as Shoreditch, which would later become a cohesive and creative hub (since rebranded as 'Silicon Roundabout'). Joshua was the driving force that turned the area's fortune and reputation around. Under the auspices of his Factual Nonsense banner, he held some of the most important and influential public art events of the late 20th Century. The first of these was an anarchic swipe at the notion of a traditional village fete called 'A Fete Worse than Death', with some of the biggest but the still yet unknown stars of the art world, including Damien Hirst and Angus Fairhurst, famously dressed as clowns and produced the first spin paintings at the Fete (for sale for the princely sum of £1). Whilst Hirst's spin machine has, from lowly beginnings at the Fete, gone on to appear recently at the World Economic Forum, a billionaire's playground, creating spin paintings for rich oligarch's wives as entertainment, Joshua was to die alone, poverty stricken back in 1996 on the cusp of international fame. Never reaping the rewards that were to come from the economic upturn and Charles Saatchi's Sensation exhibition, his death was a marker for the beginning of an era of international fame and success for his contemporaries and the end of the 'classic' avant-garde. The list of the seventy or so names of people I have interviewed for the book over the past year reads like a who's who of the contemporary art world, with contributions from the likes of Jay Jopling, Damien Hirst, Sarah Lucas, Sam Taylor-Wood, Gary Hume, Gavin Turk, Maureen Paley and Sir Peter Blake. Although Joshua never achieved the recognition that he deserved in his lifetime, he was a pivotal figure in the London art scene during the early 1990's. Josh moved into Hoxton and opened a gallery there and started a veritable art movement, while the place was a neglected London backwater. His lasting legacy was to bring together a group of artists and gallerists and create what is now known as the YBA scene. The text is illustrated with previously unseen photographs, letters and extracts from Joshua's diaries, which give insight into his thought process as well as the deterioration of his mental state towards the end of his brief but eventful life.

Tracey Emin first came to public attention in the early 1990s and has gone on to achieve a level of visibility unparalleled for an artist in recent times. Her use of intensely personal, everyday materials gives her work an intimate quality, combining avant-garde ideas with traditions of craft. Employing a variety of media that have included installation, film and video, prints and drawings, neon, fabric and artists' books, Emin has built up a formidable body of work whilst maintaining a distinctive artistic vision that is all her own.

"No FuN without U chronicles the life and times of Joshua Compston, a pivotal part of the Shoreditch art scene of the 1990s until his death at the age of 25 in March 1996. An enigmatic figure, great creative energy was the driving force throughout his life, art his weapon. His lasting success was to bring together a group of people now at the forefront of contemporary London art, including Matt Collishaw, Tracey Emin, Gilbert & George, Gary Hume, Sarah Lucas, Gavin Turk, and Gillian Wearing."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved