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Andrew Wilson is the author of Beautiful Shadow: A Life of Patricia Highsmith, which was shortlisted for the Whitbread Prize and won the Edgar Allan Poe Award for best biography. He has written for most of Britain's national newspapers, including The Daily Telegraph, The Guardian and the Daily Mail. He lives in London.
Author photo © Johnny Ring
June 2017 Book of the Month. A fascinating foray into the past, and the intriguing missing period of time so well documented, yet little known about in Agatha Christie’s life. I’ve visited the Silent Pool and Newlands Corner where Agatha Christie went missing, so for me this was a must read. Andrew Wilson seamlessly blends fact and fiction, and has obviously thoroughly researched this period in Christie’s life. The Editor’s Note cleverly sets the scene, and then chapter one begins, Agatha Christie, speaking in the first person, oh my word! Andrew Wilson effectively took me back in time to 1926, creating an engaging, readable, and oh so colourful story. This is most definitely not a whodunit, rather it’s an imagined how and why did she do it. ‘A Talent for Murder’ is wonderful escapism, and a worthwhile, thoroughly enjoyable read. ~ Liz Robinson
In the early hours of 15 April 1912, after the majestic liner Titanic had split apart and the 1,500 men, women and children struggled to stay alive in the freezing Atlantic, the sea was alive with the sound of screaming. Then, as the ship sank to the ocean floor and the passengers slowly died from hypothermia, a deathly silence settled over the sea. Yet the echoes of that night reverberated through the lives of each of the 705 survivors. Shadow of the Titanic tells the extraordinary stories of some of those who survived. Although we think we know the story of the Titanic - the famously unsinkable ship that hit an iceberg on its maiden voyage from Britain to America in April 1912 - little has been written about what happened to the survivors after the tragedy. How did the loss of the ship shape the lives of the people who survived? How did those who were saved feel about those who perished? And how did they remember that terrible night, in effect a disaster that has been likened to the destruction of a small town? Timed to coincide with the 100th anniversary of the sinking, SHADOW OF THE TITANIC will shed new light on this enduringly fascinating story by showing how the disaster continued to shape the lives of a cross-section of passengers who escaped the sinking ship.
In the early hours of 15 April 1912, after the majestic liner Titanic had split apart and the 1,500 men, women and children struggled to stay alive in the freezing Atlantic, the sea was alive with the sound of screaming. Then, as the ship sank to the ocean floor and the passengers slowly died from hypothermia, a deathly silence settled over the sea. Yet the echoes of that night reverberated through the lives of each of the 705 survivors.
'I wouldn't scream if I were you. Unless you want the whole world to learn about your husband and his mistress.' Agatha Christie, in London to visit her literary agent, boards a train, preoccupied and flustered in the knowledge that her husband Archie is having an affair. She feels a light touch on her back, causing her to lose her balance, then a sense of someone pulling her to safety from the rush of the incoming train. So begins a terrifying sequence of events. Her rescuer is no guardian angel; rather, he is a blackmailer of the most insidious, manipulative kind. Agatha must use every ounce of her cleverness and resourcefulness to thwart an adversary determined to exploit her genius for murder to kill on his behalf. 'Wilson not only knows his subject but he deftly moves the tale away from mere literary ventriloquism and into darker territory. Great fun, too' Observer 'The queen of crime is the central character in this audacious mystery, which reinvents the story of her mysterious disappearance with thrilling results' Guardian 'A thoroughly clever entertainment and a fitting homage to the great author, but it has a chilling melancholy all its own' The Tablet What readers are saying about A Talent for Murder: 'The initial premise of the story is pure genius, and when the reader realises by the end of chapter one whose head they are inside, goose bumps are guaranteed to occur' Greg, Goodreads, 4 stars 'A darkly twisting tale of murder and manipulation' Erin Britton, NetGalley, 4 stars 'This is a must-read for crime fiction fans, and Agatha Christie fans especially who will discover a new side to the Queen of Crime herself!' Vincent, Goodreads, 5 stars 'I enjoy Agatha Christie and this book did not disappoint. I devoured this book in two days' Annie, Goodreads, 4 stars 'Great mystery and action novel featuring Agatha Christie as you've never seen her before. Part biography/part thrill ride this is one novel I didn't want to end' Nikkia Neil, NetGalley, 5 stars 'An intriguing homage that stirs the imagination of the amateur sleuth in all of us ... A Talent for Murder is one novel that definitely deserves attention and praise' Elspeth G. Perkin, Goodreads, 4 stars 'This was a really good read especially for fans of Agatha Christie and even those who have never read her books' Teresa, Goodreads, 4 stars 'So, so enjoyable! Great for book club discussion due to the real mystery behind it' Kaylee Mitchell, Goodreads, 5 stars 'A fun read for Christie fans'Roman Clodia, NetGalley, 4 stars 'I'll admit to being totally drawn along by this novel; I couldn't wait to keep reading and find out how it would all turn out. I really would recommend this book as an interesting account of Christie's missing eleven days; you will be entertained' Kate Baty, 4 stars, NetGalley 'An exciting novel, a must for all Christie fans! Did you see what was happening? Did you spot the red herrings? The obvious clues. No? I didn't and that is probably what makes this a very clever novel' Joanne D'arcy, NetGalley, 5 stars 'A very enjoyable read, in the tradition of Christie herself, well researched and inventive ... plenty of unexpected plot twists to keep you on your toes. What fun!' Lisa Friel, NetGalley, 4 stars 'Unusual and entertaining' Tina Stringer, NetGalley 4 stars 'Entertaining, feasible plotting and an authentic narrative make this a highly enjoyable read' J Graham, NetGalley, 4 stars
'I wouldn't scream if I were you. Unless you want the whole world to learn about your husband and his mistress.' Agatha Christie, in London to visit her literary agent, boards a train, preoccupied and flustered in the knowledge that her husband Archie is having an affair. She feels a light touch on her back, causing her to lose her balance, then a sense of someone pulling her to safety from the rush of the incoming train. So begins a terrifying sequence of events. Her rescuer is no guardian angel; rather, he is a blackmailer of the most insidious, manipulative kind. Agatha must use every ounce of her cleverness and resourcefulness to thwart an adversary determined to exploit her genius for murder to kill on his behalf.
Im Dezember 1926 verschwindet Agatha Christie spurlos. Eine gro angelegte Suchaktion beginnt, an der sich sogar Arthur Conan Doyle beteiligt. Doch Christie, deren jungstes Buch "e;Alibi"e; gerade zum Welterfolg lanciert, bleibt verschwunden. Erst elf Tage spater wird sie in einem Hotel gefunden, in das sie sich unter dem Namen der Geliebten ihres Mannes einquartiert hat. Bis heute wei niemand, was damals geschah. Was, wenn Christie an einen bosartigen Widersacher geraten ist? Was, wenn sie erpresst worden ist? Was, wenn die Konigin der ratselhaften Morde selbst gezwungen worden ist, ein Verbrechen zu begehen? Auf intelligente und unterhaltsame Weise erzahlt Andrew Wilson in einer Mischung aus Fakten und Fiktion von einem ratselhaften Fall, in dem die grote Krimiautorin der Welt selbst zur Protagonistin wird.
This volume presents fourteen papers by Roman archaeologists and historians discussing approaches to the economic history of Pompeii, and the role of the Pompeian evidence in debates about the Roman economy. Four themes are discussed. The first of these is the position of Pompeii and its agricultural environment, discussing the productivity and specialization of agriculture in the Vesuvian region, and the degree to which we can explain Pompeii's size and wealth on the basis of the city's economic hinterland. A second issue discussed is what Pompeians got out of their economy: how well-off were people in Pompeii? This involves discussing the consumption of everyday consumer goods, analyzing archaeobotanical remains to highlight the quality of Pompeian diets, and discussing what bone remains reveal about the health of the inhabitants of Pompeii. A third theme is economic life in the city: how are we to understand the evidence for crafts and manufacturing? How are we to assess Pompeii's commercial topography? Who were the people who actually invested in constructing shops and workshops? In which economic contexts were Pompeian paintings produced? Finally, the volume discusses money and business: how integrated was Pompeii into the wider world of commerce and exchange, and what can the many coins found at Pompeii tell us about this? What do the wax tablets found near Pompeii tell us about trade in the Bay of Naples in the first century AD? Together, the chapters of this volume highlight how Pompeii became a very rich community, and how it profited from its position in the centre of the Roman world.
All the work of the 1970s involved a kind of doubling; there was the world of the everyday and there was the world of the represented ...a sense of our experiential worlds becoming bifurcated between image and reality. John Stezaker This is the first publication to explore the rich history of conceptual art in Britain during its most exciting and innovative period, from the mid 1960s to the election of Margaret Thatcher in 1979. It examines how the early works of this period took the form of a challenge to art's traditional boundaries and how by the mid 1970s, focus had shifted away from issues of art and individual experience towards questions of politics and identity, using the languages of documentary, propaganda and advertising in the service of action. After introducing the reader to the origins of this radical moment in British art, the book goes on to explore the textual work of Art & Language, Victor Burgin and others; the 'New Sculpture' being produced by those such as Richard Long and Michael Craig-Martin who questioned the traditional art object; and the artists who addressed society and politics, including Stephen Willats and Margaret Harrison.A final chapter deals with the key role of photography, film and print - revealing them to be key modes of dissemination and international exchange with Europe and America. Essays are complemented by in-focus texts on the most significant works and previously unpublished archival material. Featuring contributions by experts in the field, this is the key book on the subject for students, scholars and all those with an