A Dead Man Out of Mind


Book Description

‘A woman priest at St Margaret’s? Over my dead body!’ Dolly Topping, head of the national organisation ‘Ladies Opposed to Women Priests’ and wife of one of the churchwardens, feels that strongly about it. It is unfortunate, therefore, that Father Julian, the well-loved curate of the Pimlico church, should have been killed in a burglary gone wrong. And doubly unfortunate that the Vicar, upwardly-aspiring William Keble Smythe, should choose to appoint a woman to replace him. From the moment that Rachel Nightingale enters the serene Anglo-Catholic world of St Margaret’s, tempers and emotions run high; Christian charity is not much in evidence, even among those who espouse it loudly. Then another ‘accidental’ death unites the parishioners in new heights of hypocrisy, and leaves some crying ‘murder’. But David Middleton-Brown is sceptical – until he learns about Father Julian’s death. With the encouragement of the Archdeacon, David and Lucy Kingsley embark on a search for the truth about the ‘dead man out of mind’, and discover more than they ever wanted to know about greed, hypocrisy, ambition – and the cost of love.




A Dead Man's Honor 


Book Description

Crime historian Lizzie Stuart goes to Gallagher, Virginia for a year as a visiting professor at Piedmont State University. She is there to do research for a book about a 1921 lynching that her grandmother, Hester Rose, witnessed when she was a twelve-year-old child. Lizzie's research is complicated by her own unresolved feelings about her secretive grandmother and by the disturbing pres­ence of John Quinn, the police officer she met while on vacation in England. When an arrogant but brilliant faculty member of Piedmont State University is murdered, Lizzie begins to have more than a few sleep­less nights. A Dead Man’s Honor is a haunting story that will keep you awake nights, too. Praise for Frankie Y. Bailey “She has a tremendous eye and ear.” —The Times Union, Albany, New York




The Dead Man’S Mind


Book Description

It was Friday the thirteenth, not destined to be a good day in the eyes of many overly superstitious fishermen on the dock. It was a gloomy day. The sky was scattered with dark clouds and a misty fog hung over the ocean. Doom and gloom again, said Captain John Carl Thomason unenthusiastically, as he watched his crew unload the catch onto the dock. The price is in the toilet again. What happened to the way things used to be around here? Probably gone along with his mind, muttered a short balding man who looked worthless in every respect. Shut your trap, Remi, snapped John Carl. Yes Cap, said Remi. He sounded like he had memorized the responses he gave to his captains commands. John Carl Thomason looked as though he would be very good looking if it were not for the fact that he always looked as though he was having the worst day of his life. Is that a banana youre eating, Remi? asked John Carl casually. Yes Cap, said Remi automatically. Well, guess what, mate? said John Carl, his voice colder now. What? asked Remi, not catching his captains cold tone. Bananas are bad luck, thats what, yelled John Carl. He grabbed the banana out of Remis hand and shoved it in his face. DO YOU- REALIZE -WHAT -TODAY IS? he yelled, pronouncing each word with deadly emphasis. No sir, spluttered Remi, who looked quite the idiot with banana all over his face. ITS FRIDAY THE THIRTEENTH, YOU WORTHLESS IDIOT, roared John Carl. We have enough bad luck without you making things worse with your stinking slimy banana. The Captain threw the banana peel on the dock and stormed away, swearing loudly. Remi stumbled towards the truck, carrying a large box. He stepped on the banana peel and fell flat on his face. Hey, Remi, called a young man named Sono, how long does it take from when you step on the peel to when you hit the dock? One banano-second! There was a roar of laughter from the other crewmembers on the dock. Nice one, Sono, said another young man called Browen. Sono and Browen were brothers, ages nineteen and eighteen. They looked very much alike and had very similar personalities. They seemed to be able to read each others thoughts, and were, therefore, exceptional liars. They could always talk their way out of anything, even with their captain, who was not easily fooled. Remi was not a challenge for them. They had taken the job working on the boats because neither of them was very academically inclined. They were, however, very good at making jokes, pulling pranks, and having as much fun as possible while on the job. They stopped at nothing to insult anyone who displayed a lack of intelligence or physical prowess. Remi Nelson was a short, chubby, balding man, who had never really been able to make anything of his life, or at least it never seemed like he had. He was thirty-five, but looked forty-five, at best. Sono and Browen thought he was at least fifty. Everyone always made fun of Remi, but he still seemed to feel important and useful. This only seemed to make things worse for him, although he never seemed to understand that. Just imagine being stupid enough to eat a banana in front of Cap on Friday the thirteenth, said Sono loudly. Imagine being stupid enough to slip on the peel and fall flat on your face, said Browen. Imagine doing this job till youre fifty, said Sono. Im thirty-five, snapped Remi, who had stood up and was wiping banana off his face. Really? said Sono mockingly. I had no idea guys went bald and got beer bellies that soon. You might want to tell Cap to get a move on, he must be at least thirty or thirty-five. I dont see him looking like that. Looks arent everything, you know, muttered Remi. Clearly, or you wouldnt even be alive, sneered Sono. Get to work, snapped John Carl coming up behind them. Yes Cap, said Remi immediately Sorry sir, said Browen emphasizing the last




Dead Man's Curve


Book Description

Jan Berry, leader of the music duo Jan & Dean from the late 1950s to mid-1960s, was an intense character who experienced more in his first 25 years than many do in a lifetime. As an architect of the West Coast sound, he was one of rock 'n' roll's original rebels--brilliant, charismatic, reckless, and flawed. As a songwriter, music arranger, and record producer for Nevin-Kirshner Associates and Screen Gems-Columbia Music, Berry was one of the pioneering self-produced artists of his era in Hollywood. He lived a dual life, reaching the top of the charts with Jan & Dean while transitioning from college student to medical student, until an automobile accident in 1966 changed his trajectory forever. Suffering from brain damage and partial paralysis, Jan spent the rest of his life trying to come back from Dead Man's Curve. His story is told here in-depth for the first time, based on extensive primary source documentation and supplemented by the stories and memories of Jan's family members, friends, music industry colleagues, and contemporaries. From the birth of rock to the bitter end, Berry's life story is thrilling, humorous, unsettling, and disturbing, yet ultimately uplifting.




Dead Man's Float


Book Description

"Harrison's poems succeed on the basis of an open heart and a still-ravenous appetite for life."—The Texas Observer The title Dead Man's Float is inspired by a technique used by swimmers to conserve energy when exhausted, to rest up for the long swim to shore. In his fourteenth volume of poetry, Jim Harrison presents keen awareness of physical pains, delights in the natural world, and reflects on humanity's tentative place in a universe filled with ninety billion galaxies. By turns mournful and celebratory, these fearless and exuberant poems accomplish what Harrison's poems always do: wake us up to the possibilities of being fully alive. "Forthright and unaffected, even brash, Harrison always scoops us straight into the world whether writing fiction or nonfiction. This new collection [Dead Man's Float] takes its cue from a technique swimmers use to conserve energy in deep water, and Harrison goes in deep, acknowledging our frailness even as he seamlessly connects with a world that moves from water to air to the sky beyond."—Library Journal “Harrison pours himself into everything he writes… in poems, you do meet Harrison head-on. As he navigates his seventies, he continues to marvel with succinct awe and earthy lyricism over the wonders of birds, dogs, and stars as he pays haunting homage to his dead and contends with age’s assaults. The sagely mischievous poet of the North Woods and the Arizona desert laughs at himself as he tries to relax by imagining that he’s doing the dead man’s float only to sink into troubling memories…Bracingly candid, gracefully elegiac, tough, and passionate, Harrison travels the deep river of the spirit, from the wailing precincts of a hospital to a “green glade of soft marsh grass near a pool in a creek” to the moon-bright sea.”—Donna Seaman, Booklist "Harrison doesn't write like anyone else, relying entirely on the toughness of his vision and intensity of feeling."—Publishers Weekly Warbler This year we have two gorgeous yellow warblers nesting in the honeysuckle bush. The other day I stuck my head in the bush. The nestlings weigh one twentieth of an ounce, about the size of a honeybee. We stared at each other, startled by our existence. In a month or so, when they reach the size of bumblebees they'll fly to Costa Rica without a map. Jim Harrison, one of America's most versatile and celebrated writers, is the author of over thirty books of poetry, fiction, and nonfiction—including Legends of the Fall, the acclaimed trilogy of novellas. With a fondness for open space and anonymous thickets, he divides his time between Montana and southern Arizona.




Dead Man's Fancy


Book Description

The third novel starring Montana's fly fisherman-cum-detective Sean Stranahan, for fans of C. J. Box and Craig Johnson Wolves howl as a riderless horse returns at sunset to the Culpepper Dude Ranch in the Madison Valley. The missing woman, Nanika Martinelli, is better known as the Fly Fishing Venus, a red-haired river guide who lures clients the way dry flies draw trout. As Sheriff Martha Ettinger follows hoof tracks in the snow, she finds one of the men who has fallen under the temptress’s spell impaled on the antler tine of a giant bull elk, a kill that’s been claimed by a wolf pack. An accident? If not, is the killer human or animal? With painter, fly fisherman, and sometimes private detective Sean Stranahan’s help, Ettinger will follow clues that point to an animal rights group called the Clan of the Three-Clawed Wolf and to their svengali master, whose eyes blaze with pagan fire. In their most dangerous adventure yet, Stranahan and Ettinger find themselves in the crossfire of wolf lovers, wolf haters, and a sister bent on revenge, and on the trail of an alpha male gone terribly wrong.







The Works of W. Fenner


Book Description




Dead Man's Dancer


Book Description

Mechele is young, attractive, and looking to cash in on her aesthetic assets when she moves from New Orleans to Alaska in 1994 to earn money for college tuition. Her charms ensnare the affections of three men, and the combined effects of jealously, lust, and greed take a deadly turn in this true crime story. Before a murder in the woods shatters her contented life, Mechele works as an exotic dancer at the Alaska Bush Company, where she spends her days pleasing a procession of hard-working men. John, Scott, and Kent are simultaneously smitten with Mechele, and offer affection in the form of lavish gifts and ultimately engagement rings. While the three men begin their affairs on the same path, violent murder blasts apart their parallel lives. One of the trio is shot in the back; another is accused of the murder. Dead Man's Dancer follows this murder case from 1996 throughout Mechele's tumultuous trial in 2006 that becomes a nationwide sensation. Shocking in its detailed portrayal of murder and convoluted love affairs, Dead Man's Dancer excites horror in readers that lingers far after the last page is turned.




Under Deadman's Skin


Book Description

The five-and six-year-olds in my class have invented a new game they call suicide. I have never seen a game I hate so much in which all the children involved are so happy. So begins Under Deadman's Skin, a deceptively simple-and compellingly readable-teachers' tale. Jane Katch, in the tradition of Vivian Paley and Jonathan Kozol, uses her student's own vocabulary and storytelling to set the scene: a class of five-and six-year-olds obsessed with what is to their teacher hatefully violent fantasy play. Katch asks, 'Can I make a place in school for understanding these fantasies, instead of shutting them out?' Over the course of the year she holds group discussions to determine what kind of play creates or calms turmoil; she illustrates (or rather the children illustrate) the phenomenon of very young children needing to make sense of exceptionally violent imagery; and she consults with older grade-school boys who remember what it was like to be obsessed by violence and tell Katch what she can do to help. Katch's classroom journey-one that leads her to rules and limits that keep children secure-is an enabling blueprint for any teacher or parent disturbed by violent children's play.