Tom and Jo are the perfect professional couple, and think they have it all. But when Tom starts to think that he wants to be a father, and Jo can't bear the thought of sacrificing her career for a baby, Tom looks elsewhere. When he meets Camilla, a dangerous triangle begins - one that will spiral into disaster.
Private investigator Dylan Scott is struggling to come to terms with the death of his wife. He has to cope for the sake of his two children, though it's easier to blame himself for her death and take comfort in a bottle of whisky. When he hears that the man who helped him solve his first case has been killed in Dawson's Clough, Dylan finds a new purpose and vows to put all his energy into finding justice for him. Who would have a motive to kill a kind man like Simple Stevie? As it turns out, everyone. Dylan's hunch is that Stevie must have snapped a photo of the wrong person, doing something they want erased, so he focuses his investigation on the town's residents. But Dylan's worst fears are realized when he again finds his own family in the crosshairs. A Dylan Scott Mystery 90,000 words
"Consistently entertaining and engrossing." —That's What I'm Talking About on Deadly Shadows This new collection includes books 6—8 in The Dylan Scott Mystery series by Shirley Wells. DEADLY SHADOWS Before his dismissal from the police force, Dylan Scott worked undercover to get close to notorious drug dealer Joe Child. Now, Dylan works as a P.I.—and Child heads up a religious commune near Dawson's Clough. But after two girls go missing from the refuge, the cops need Dylan's help to find out if Child is saving souls as a cover for something more sinister. It means going back undercover—a tough gig for a detective who has recently worked some high-profile cases in Lancashire. Even on a remote farm, Dylan's in constant danger of being recognized. Still, Dylan won't rest until he finds the missing girls. But the truth may be more than this bleak northern town can handle. DEAD END Somebody is making threatening calls to private investigator Dylan Scott. A lot of dangerous people would love to see Dylan with a bullet between the eyes. The twisted trail brings Dylan face-to-face with old foes and a few new ones—and they're all keeping deadly secrets… But as he chases leads across London, his adversary is hunting down victims and drawing ever closer to his ultimate target: Dylan. Someone from Dylan's past is on a killing spree, and if he doesn't connect the dots in time, the dead end will be his. DEAD SIMPLE Private investigator Dylan Scott is struggling to come to terms with the death of his wife. He has to cope for the sake of his two children, though it's easier to blame himself for her death and take comfort in a bottle of whisky. When he hears that the man who helped him solve his first case has been killed in Dawson's Clough, Dylan vows to put all his energy into finding justice for him. Who would have a motive to kill a kind man like Simple Stevie? Stevie must have snapped a photo of the wrong person, doing something they want erased. Dylan focuses his investigation on the town's residents, but his worst fears are realized when he finds his own family in the crosshairs.
'This is heartache for grown ups. The Weight of Love pulls you in and does not let go.' ANNE ENRIGHT 'Beautiful and painful, exquisitely written, shot through with nostalgia for our earlier selves.' MARIAN KEYES London, 1996. Robin and Ruth meet in the staff room of an East London school. Robin, desperate for a real connection, instantly falls in love. Ruth, recently bereaved and fragile, is tentative. When Robin introduces Ruth to his childhood friend, Joseph, a tortured and talented artist, their attraction is instant. Powerless, Robin watches on as the girl he loves and his best friend begin a passionate and turbulent affair. Dublin 2017. Robin and Ruth are married and have a son, Sid, who is about to emigrate to Berlin. Theirs is a marriage haunted by the ghost of Joseph and as the distance between them grows, Robin makes a choice that could have potentially devastating consequences. The Weight of Love is a beautiful exploration of how we manage life when the notes and beats of our existence, so carefully arranged, begin to slip off the stave. An intimate and moving account of the intricacies of marriage and the myriad ways in which we can love and be loved. 'Delicate, powerful, hypnotic.' DONAL RYAN
In this broad-ranging and ambitious intervention in the debates over the politics, ethics, and aesthetics of cosmopolitanism, Rebecca L. Walkowitz argues that modernist literary style has been crucial to new ways of thinking and acting beyond the nation. While she focuses on modernist narrative, Walkowitz suggests that style conceived expansively as attitude, stance, posture, and consciousness helps to explain many other, nonliterary formations of cosmopolitanism in history, anthropology, sociology, transcultural studies, and media studies. Walkowitz shows that James Joyce, Joseph Conrad, Virginia Woolf, Salman Rushdie, Kazuo Ishiguro, and W. G. Sebald use the salient features of literary modernism in their novels to explore different versions of transnational thought, question moral and political norms, and renovate the meanings of national culture and international attachment. By deploying literary tactics of naturalness, triviality, evasion, mix-up, treason, and vertigo, these six authors promote ideas of democratic individualism on the one hand and collective projects of antifascism or anti-imperialism on the other. Joyce, Conrad, and Woolf made their most significant contribution to this "critical cosmopolitanism" in their reflection on the relationships between narrative and political ideas of progress, aesthetic and social demands for literalism, and sexual and conceptual decorousness. Specifically, Walkowitz considers Joyce's critique of British imperialism and Irish nativism; Conrad's understanding of the classification of foreigners; and Woolf's exploration of how colonizing policies rely on ideas of honor and masculinity. Rushdie, Ishiguro, and Sebald have revived efforts to question the definitions and uses of naturalness, argument, utility, attentiveness, reasonableness, and explicitness, but their novels also address a range of "new ethnicities" in late-twentieth-century Britain and the different internationalisms of contemporary life. They use modernist strategies to articulate dynamic conceptions of local and global affiliation, with Rushdie in particular adding playfulness and confusion to the politics of antiracism. In this unique and engaging study, Walkowitz shows how Joyce, Conrad, and Woolf developed a repertoire of narrative strategies at the beginning of the twentieth century that were transformed by Rushdie, Ishiguro, and Sebald at the end. Her book brings to the forefront the artful idiosyncrasies and political ambiguities of twentieth-century modernist fiction.