Jimmy Answell is summoned for an audience with Avory Hume. The two men are later discovered after witnesses break into Hume's study - a room with bolted steel shutters and a heavy door locked on the inside. Answell is found lying unconscious and Hume stabbed to death with an arrow. How can young Answell not be guilty? Sir Henry Merrivale investigates and reconstructs the crime in the courtroom.

The &"classical,&" Steven Shankman argues, should not be confused with a particular historical period of Western antiquity, although it may owe its original articulation to the literary and philosophical explorations of ancient Greek authors. Shankman's book searches for and attempts to formulate the shape of the continuing presence&—as embodied in particular literary works mainly from Western antiquity and the neoclassical and modern periods&—of what the author calls a &"classical&" understanding of literature. For Shankman, literature, defined from a classical perspective, is a coherent, compelling, and rationally defensible representation that resists being reduced either to the mere recording of material reality or to the bare exemplification of an abstract philosophical precept. He derives his definition largely from his reading of Greek literature from Homer through Plato, from the history of literary criticism, and from the Greco-Roman tradition in English, American, and French literature. Shankman reveals unsuspected yet convincing connections among authors of such widely disparate times and places. His idea of the &"classic&" that authorizes these connections is presented as normative, thus making possible the evaluation of literary works and, in turn, forthright discussion of what constitutes the &"literary&" as distinct from other kinds of discourse. Shankman's study runs counter to a strong tendency of contemporary criticism that argues precisely against any distinct category of the &"literary.&" He offers a series of interpretations that cumulatively advance theoretical discussion by challenging scholars to rethink the critical paradigms of postmodernism. At the center of the book is a discussion of the quintessentially classic Val&éry poem Le Cimeti&ère marin and the classic qualities it shares with Pindar's third Pythian ode, from which Val&éry derives the epigraph for his poem.

Presents five picture puzzles featuring Winnie the Pooh and his friends, encouraging young readers to find such items as a book, a key, a basket, and a butterfly. On board pages.

Nearly 4,000 years ago in Egypt, Nofret, the beautiful concubine,was murdered. The possible murderers in the master's family were the next to die.

The &"classical,&" Steven Shankman argues, should not be confused with a particular historical period of Western antiquity, although it may owe its original articulation to the literary and philosophical explorations of ancient Greek authors. Shankman's book searches for and attempts to formulate the shape of the continuing presence&—as embodied in particular literary works mainly from Western antiquity and the neoclassical and modern periods&—of what the author calls a &"classical&" understanding of literature. For Shankman, literature, defined from a classical perspective, is a coherent, compelling, and rationally defensible representation that resists being reduced either to the mere recording of material reality or to the bare exemplification of an abstract philosophical precept. He derives his definition largely from his reading of Greek literature from Homer through Plato, from the history of literary criticism, and from the Greco-Roman tradition in English, American, and French literature. Shankman reveals unsuspected yet convincing connections among authors of such widely disparate times and places. His idea of the &"classic&" that authorizes these connections is presented as normative, thus making possible the evaluation of literary works and, in turn, forthright discussion of what constitutes the &"literary&" as distinct from other kinds of discourse. Shankman's study runs counter to a strong tendency of contemporary criticism that argues precisely against any distinct category of the &"literary.&" He offers a series of interpretations that cumulatively advance theoretical discussion by challenging scholars to rethink the critical paradigms of postmodernism. At the center of the book is a discussion of the quintessentially classic Val&éry poem Le Cimeti&ère marin and the classic qualities it shares with Pindar's third Pythian ode, from which Val&éry derives the epigraph for his poem.

Westleham Village 1947. It’s the Westleham village show and with the war finally over, everyone is looking forward to a pleasant day. But newcomer, Martha Miller doesn’t share the excitement. Because since her husband Stan left for work one day and never returned, Martha has been treated as somewhat of an outsider in Westleham. The village gossip is that Martha must be to blame.... Martha hopes she can win her fellow villagers over with her delicious homemade plum gin. But as glasses of the tangy tipple are quaffed, disaster strikes! Chairwoman of the village show, Alice Warren, slumps to the ground - poisoned! As fingers of suspicion again point Martha’s way, she’s determined to prove her innocence and find the real culprit. And she’s ably helped by the new vicar, Luke Walker. But who would kill Alice and why? And will Luke and Martha discover who is behind the poisoning before it's too late? Find out in a brand new Martha Miller mystery from bestselling author Catherine Coles. Praise for Catherine Coles: 'An utterly charming 1940’s mystery. Definitely a new series addiction!' Bestselling author Debbie Young. 'Pure mystery buff entertainment' Library Bookwatch Perfect for fans of Lee Strauss and Beth Byers!

"A witty and tricky plot and a genuinely shocking conclusion."—Publishers Weekly, Starred Review A mystery dinner theater party thrown by local author with a taste "for rather gruesome humor" requires guests come dressed as infamous killers—Jack the Ripper, Dr. Crippen, and the like. Whatever could go wrong? Know-it-all amateur criminologist Roger Sheringham settles in for an evening of beer, small talk, and analyzing his companions. Ena Stratton, the host's sister-in-law, catches his attention. Her erratic mood swings and loud, gossipy talk is winning her more than a few enemies amongst the guests. When she's found dead, it's clear that one of the partygoers helped her to an early grave. Noticing a key detail that could implicate a friend in the crime, Sheringham decides to meddle with the scene and unwittingly makes himself a suspect. Tightly paced and cleverly defying the conventions of the classic detective story, Anthony Berkeley's dark sense of humor and taste for the macabre drive this 1933 classic. This edition includes an introduction by CWA Diamond Dagger and Edgar ® Award-winning author Martin Edwards.

The follow-up to Mistress of the Art of Death- in the national bestselling series hailed as "the medieval answer to Kay Scarpetta and the CSI detectives." When King Henry II's mistress is found poisoned, suspicion falls on his estranged queen, Eleanor of Aquitaine. The king orders Adelia Aguilar, expert in the science of death, to investigate-and hopefully stave off civil war. A reluctant Adelia finds herself once again in the company of Rowley Picot, the new Bishop of St. Albans...and her baby's father. Their discoveries into the crime are shocking- and omens of greater danger to come.

A millionaire ... murdered as she was about to be saved... 'A new Ellery Queen book has always been something to look forward to for many years now' Agatha Christie 'Ellery Queen is the American detective story' New York Times The son of a police detective, Ellery Queen is no stranger to death, and has seen more than his fair share of dead bodies. Yet the thought of seeing a living person sliced open makes him ill. So when a doctor invites him to sit in on an operation, Queen braces himself. The patient is a millionaire in a diabetic coma. To prepare her for surgery, the hospital staff has stabilised her blood sugar level and wheeled her to the operating theatre - but just before the first incision, the doctors realise she is dead, strangled while lying unconscious. Now Ellery Queen moves from observer to detective in his most mysterious case yet.