検索キーワード： ナレーター "Steven Crossley Crossley" すべてのカテゴリー

Written in reaction to what Bentley perceived as the sterility and artificiality of the detective fiction of his day, Trent's Last Case features Philip Trent, an all-too-human detective who not only falls in love with the chief suspect but reaches a brilliant conclusion that is totally wrong. Trent's Last Case begins when millionaire American financier Sigsbee Manderson is murdered while on holiday in England. A London newspaper sends Trent to investigate, and he is soon matching wits with Scotland Yard's Inspector Murth.

In this blistering polemic, veteran journalist Mick Hume presents an uncompromising defence of freedom of expression, which he argues is threatened in the West not by jackbooted censorship but by a creeping culture of conformism and you-can't-say-that. The cold-blooded murder of the Charlie Hebdo cartoonists in January 2015 brought a deadly focus to the issue of free speech. Leaders of the free-thinking world united in condemning the killings, proclaiming ‘Je suis Charlie'.

No Man's Land is Simon Tolkien's first literary novel - it's a picture of early 20th-century England torn apart by the First World War, as seen through the eyes of a working-class boy whose turbulent life is finally coming together when he is posted to the Somme in 1916.

A haughty professor comes calling on Arnold Landon for research assistance. But he’s overlooked an important fact. Landon already has a job at the council—along with a raft of superiors who’d rather he focused on the dispute at hand. Namely, who is the rightful owner of the Kilgour Estates? And the opulent manor house in the grounds? Dashing rake Patrick Yates insists it’s all his. But a black sheep in the family returns to claim otherwise. Who is telling the truth?

Has something indeed happened to evangelical theology and to evangelical churches? According to David Wells, the evidence indicates that evangelical pastors have abandoned their traditional role as ministers of the Word to become therapists and "managers of the small enterprises we call churches". Along with their parishioners, they have abandoned genuine Christianity and biblical truth in favor of the sort of inner-directed experiential religion that now pervades Western society.

I Let You Go follows Jenna Gray as she moves to a ramshackle cottage on the remote Welsh coast, trying to escape the memory of the car accident that plays again and again in her mind and desperate to heal from the loss of her child and the rest of her painful past. At the same time, the novel tracks the pair of Bristol police investigators trying to get to the bottom of this hit-and-run.

Innumerable stories, from the Homeric epics to the New Testament, and from Oedipus Rex to Hamlet, explore the realization or failure of second chances—outcomes that depend on accident, acts of will, or fate. Such stories let us repeatedly rehearse the experience of loss and recovery: to know the joy that comes with a renewal of love and pleasure and to face the pain that comes with realizing that some damage can never be undone. Through a series of illuminating readings, the authors show how Shakespeare was the supreme virtuoso of the second chance and Freud was its supreme interpreter.

A brand-new collection of four intense, claustrophobic and terrifying horror tales from the Bram Stoker Award®-nominated and Splatterpunk Award-winning author of Things Have Gotten Worse Since We Last Spoke.

Late one night, Lynne Anderson reveals to her lover that she has something to tell him. And it’s not just pillow talk. But before she can spill her shocking secrets, a shooter silences her and her lover for ever. Meanwhile, her husband Kevin Anderson has disappeared, leaving behind only a partial report on the ancient tower houses he and Arnold Landon are reviewing. Arnold is left trying to puzzle out Kevin’s skimpy notes. But the deeper he gets the more he fears for his missing coworker.

Andrews is found dead in his own living room. His head blown to bloody smithereens. Who will finish what the dead man started? The publisher turns to Arnold Landon. And why wouldn’t he pick up the mantle? Everyone tells him it’s safe. The police have their man for Andrews’ killing. But the closer Landon gets to Andrews’ checkered past, the less certain he becomes. Could the true killer be out there still? Watching, waiting for his chance to strike again …

St Michael’s Church may be derelict but it’s not deserted. Someone still comes here to worship on nights when the moon is full. Arnold Landon should know. He’s seen the grisly evidence for himself. Blood among the roses. The butchered remains of a man, tangled in the undergrowth. The victim was a traveler. How did he come to be in the churchyard? Arnold has a theory that leads back centuries, all the way to the cult of the Raging Wolf. Everyone tells him it’s impossible, that the cultists are dead and buried. But the devil wears many faces.

Thailand, 1996: Supot, a postman with the Royal Thai Mail service, hates his job. The only bright spot in his life is watching classic movies with his best friend, Ali, the owner of a video store. These cinephiles adore the charisma of the old Western stars, particularly the actresses, and bemoan the state of modern Thai cinema—until a mysterious cassette, entitled Bangkok 2010, arrives at Ali’s store.

A skeleton buried on a lonely Northumberland hill? Nothing wrong with that. Garrigill was once an ancient burial ground. Archaeologist Rena Williams is here to excavate the site. She is an old friend of Arnold’s. And with his help, her team have uncovered more than a few old bones already. But never like this. The bludgeoned skull, the modern dental work…nothing about this death feels accidental. Or even all that old. Who was the dead man, and what did he know that was worth killing for?

From the moment Karen Stannard comes striding in the door, Arnold Landon knows his workplace will never be the same. Now, he is saddled with a project he never wanted: the Ridgeway Viking Trust. Its shady leaders tell him there’s treasure buried in the rolling Northumberland Hills—they just need one more payout to reach it. But is there more to the Trust than meets the eye? Muck-raking journalist Alan Crickley seems to think so. He’s got the scent of corruption and he’s on the trail... Until the day he drives his car into a ditch, a stone’s throw from the dig.

Colin Bannock is hiding quite the secret. By day, he’s a smooth-talking lawyer. After hours, he is someone else entirely. He corners Arnold Landon, wanting him to join his society of history fanatics. Appalled, Arnold declines outright. He’s never been a joiner and, besides, he has enough on his plate already. He is hunting for a lost and ancient treasure. And he knows the hiding place is close. Then Bannock’s body washes up on the banks of the River Tyne, battered and bloated beyond recognition. Was he also chasing the mythic treasure?

As dusk approaches a small Dublin suburb in the summer of 1984, mothers begin to call their children home. But on this warm evening, three children do not return from the dark and silent woods. When the police arrive, they find only one of the children gripping a tree trunk in terror, wearing blood-filled sneakers, and unable to recall a single detail of the previous hours. Twenty years later, the found boy, Rob Ryan, is a detective on the Dublin Murder Squad and keeps his past a secret.

It is the Edinburgh Festival. People queuing for a lunchtime show witness a road-rage incident--an incident which changes the lives of everyone involved. Jackson Brodie, ex-army, ex-police, ex-private detective, is also an innocent bystander--until he becomes a suspect. With Case Histories, Kate Atkinson showed how brilliantly she could explore the crime genre and make it her own. In One Good Turn, she takes her masterful plotting one step further.

Sung in moments of personal isolation or on state occasions watched by millions, “Amazing Grace” has become an unparalleled anthem for humankind. How did a simple Christian hymn, written in a remote English vicarage in 1772, come to hold such sway in all corners of the modern world? With this short, engaging cultural history, James Walvin offers an explanation.

Arnold Landon steps out with his lady friend, hunting for relics on the deserted dig site where he works. Before long, they stumble on something under a bridge. The mangled remains of Arnold’s fellow historian. His chest gapes open, his insides arranged in a pair of bloody wings. Arnold’s no expert, but he knows a blood eagle when he sees one—the handiwork of a berserker warrior. Mad with blood lust and out for vengeance.

Orson Welles' 1938 radio adaptation of The War of the Worlds has done much to obscure the real brilliance of the original work. Written at a time when "science-fiction" did not exist as a genre, The War of the Worlds was a new departure in literature. Author H.G. Wells, deeply committed to social improvement in turn-of-the-century Britain, used extra-terrestrial invasion to predict the results of a not-entirely-impossible violent upheaval in contemporary society: for "Martians" read "bolsheviks."