A Victorian-era undertaker plans a funeral for an eccentric duke's pet raven—but the bird's death is soon followed by murder: “A most unusual heroine.” (Publishers Weekly). While on a much-needed respite with her husband Sam in Nottinghamshire, undertaker Violet Harper is summoned to Welbeck Abbey by the Fifth Duke of Portland to prepare a body. His Grace is known as the “mad duke,” and Violet has more than an inkling of why when she arrives at the grand estate and discovers that the corpse in question is that of the duke's favorite raven, Aristotle. Many of the duke's servants believe a dead raven is a harbinger of doom, and the peculiar peer hopes to allay their superstitious fears with an elaborate funeral for his feathered friend. But Aristotle's demise is soon followed by the violent murder of one of the young workers on the estate. Wishing to avoid any whisper of scandal, the reclusive duke implores Violet to conduct her own discreet investigation. In her hunt for evidence, Violet wonders if the manner of the raven's death might provide a crucial clue in solving the crime before someone else—including herself—risks an untimely fate.

Even the most glamorous stately homes hide secrets and lies from the past... When Flora Maguire receives an alarming telegram informing her of her father’s tragic death in a riding accident, she races back from London to her childhood home. But when Flora and her new husband, Bunny, get to Cleeve Abbey – where she was once Governess to Eddy, Viscount Trent, and her father was butler to Earl Trent – it’s all is not well. Flora’s intention was to bury her father next to Lily, her mother, who sadly passed away when Flora was a small child. But it turns out that a mystery surrounds the whereabouts of Lily’s final resting place. No-one is willing to talk. And, with her father now dead in what seems like a suspicious accident, Flora must now strive alone to uncover hidden family secrets. And a terrible betrayal with the power to change everything... A cozy mystery, perfect for fans of Agatha Christie and Downton Abbey, and set in the glorious Cotswolds landscape. Previously published as Murder at Cleeve Abbey. What people are saying about Death at the Abbey: ‘Intriguing... Clues to keep you guessing... I was caught up in the story immediately.’ Goodreads reviewer, 5 stars ‘I love, love, love this series! ... The intricate plot with its many odd characters kept me turning the pages until the stunning end. I highly recommend this to everyone who loves historical fiction and who would like to venture into the cozy mystery genre. Highly recommended!’ Goodreads reviewer, 5 stars ‘An intriguing mystery... Flora makes a wily opponent with first rate detective skills.’ Goodreads reviewer, 5 stars Would recommend to anyone who likes their heroines feisty.’ Goodreads reviewer, 5 stars

'In a tale that more than matches its predecessors for pace and atmosphere, Hawkins is forced into confrontation with a psychopathic killer...hugely enjoyable' The Sunday Times 'You will burn.' Late spring, 1728. Fresh from his escape from the gallows, Thomas Hawkins has arrived in Yorkshire with his ward, Sam Fleet. But death still has a hand upon his shoulder, even in such idyllic surroundings. John Aislabie, Tom's reluctant host, is being tormented by anonymous letters threatening murder. A disgraced politician, Aislabie certainly has plenty of enemies. But, trapped in a house haunted by old tragedies, Tom begins to suspect that the danger lies much closer to home. Someone is playing a subtle and deadly game of revenge, years in the planning. And now Tom is standing in their way...

"...a brutal, honest account by an American veteran of what went wrong and how a few determined people tried to make it right. Beautifully crafted and deeply researched, it marks a vital contribution to the accounts that have come out of the War on Terror."— Sebastian Junger, New York Times bestselling author As the American government began a disastrous mass evacuation of its Afghan allies, a group of American veterans saw the writing on the wall—the people who had supported them on the ground over the past two decades were going to be left behind. Instead of watching on the sideline, they sprang into action. The effort became known nationally as #DigitalDunkirk, in reference to the civilian aspect of the evacuation of soldiers from the beaches of Dunkirk in 1940. As America's last days in Afghanistan came to a chaotic end, an ad-hoc group of veterans, intelligence assets and legislative aides undertook an extraordinary mission to honor the U.S. battlefield creed to leave no comrade behind. Relying on cell phones and satellites as their weapons, they worked feverishly around the clock to help evacuate as many Afghans who had supported U.S. troops over the past twenty years as possible. As the desperate mass of Afghans tried to flee brutal Taliban rule, Marines of the 2nd Battalion, 1st Marines, worked at Hamid Karzai International Airport's Abbey Gate in conditions that brought combat-hardened veterans to tears. After an ISIS suicide bomber detonated his S-vest, killing 13 U.S. service members, operations came to a halt. Told through the eyes of Mikael, his Afghan friend Abdul and the 2/1 Marines on the ground, including a Marine squad leader who personally led the Afghans through the airport, Life and Death at Abbey Gate tells the story behind the story of the mass evacuation of over 124,000 Americans and Afghan allies during a two-week period in the summer of 2021. This is an important story that should be read by all Americans. A story of leadership, empty government promises and the convictions of our military to stand by our allies in their time of need.

Gender, Performance, and Authorship at the Abbey Theatre argues for a reconsideration of authorship at the Abbey Theatre. The actresses who performed the key roles at the Abbey contributed original ideas, language, stage directions, and revisions to the theatre's most renowned performances and texts, and this study asks that we consider the role of actresses in the development of these plays. Plays that have been historically attributed to W. B. Yeats and J. M. Synge have complicated histories, and the neglect of these women's contributions over the past century reflects power dynamics that privilege male, Anglo Irish writers over the contributions of working class actresses. The study asks that readers consider the importance of past performance in the creation of written text. Yeats began his earliest plays performing with and writing for Laura Armstrong, a young woman who was a precursor to Maud Gonne in her irreverent challenge to traditional gender roles. After writing his first plays and poems for Armstrong, Yeats met Gonne and developed two Cathleen plays, The Countess Cathleen and Cathleen ni Houlihan, for her to perform, beginning a lifetime of fruitful argument between the two writers about how Ireland should appear onstage. The book then turns to Synge's work with Molly Allgood in creating The Playboy of the Western World and Molly's contributions to Synge's Deirdre of the Sorrows. A section on Yeats's Deirdre shows the contributions of Lady Gregory and the play's performers. The book ends with a reconsideration of Abbey actress Sara Allgood's performances in British and American film as she brought her earliest work in the pre-Abbey tableau movement to American audiences in the 1940s, in ways that challenged ideas of Irishness, American identity, and aging women on screen.

“Here lies one whose name was writ in water”. This is the phrase the English Romantic poet Keats desired to be inscribed on his tombstone. Just this phrase; he did not even want his name to appear on his tombstone; merely this line. Keats wanted simply the above phrase on his tombstone for by the time his death was near, he was embittered with life and believed he would soon be forgotten. But, contrary to it, more than two hundred years after his death, he is still remembered as one of the greatest English Romantic poets ever. This book, the second in the “Last Words Series”, deals with the fascinating account of the ‘Life, Death, and Last Words’ of the English Romantic poet John Keats (31 October 1795 -- 23 February 1821). Keats came to this world on a short visit. He was just over 25 when he died. EBook: G