Cover of The blood detective
Read Time: ~5 hr

The blood detective

by Dan Waddell (2008)

About this book

As dawn breaks over London, the body of a young man is discovered in a windswept Notting Hill churchyard. The killer has left Detective Chief Inspector Grant Foster and his team a grisly, cryptic clue...However it's not until the clue is handed to Nigel Barnes, a specialist in compiling family trees, that the full message becomes spine-chillingly clear. For it leads Barnes back more than one hundred years - to the victim of a demented Victorian serial killer...When a second body is discovered Foster needs Barnes's skills more than ever. Because the murderer's clues appear to run along the tangled bloodlines that lie between 1879 and now. And if Barnes is right about his blood-history, the killing spree has only just begun...From the author of the bestselling Who Do You Think You Are? comes a haunting crime novel of blood-stained family histories and gruesome secrets. . .

Setting / LocationLondon & UK
Story Era1800s / Victorian
Protagonist / CoreThe blood detective Lead Character

Readers who enjoyed this also loved

Cover of No gifts from chance

No gifts from chance

Shari Benstock

The first new biography of America's foremost woman of letters in twenty years, No Gifts from Chance presents an Edith Wharton for our times. Far from the emotionally withdrawn and neurasthenic victim of earlier portraits, she is revealed here as an ambitious, disciplined, and self-determined woman who fashioned life to her own desires. Drawing on government records, legal and medical documents, and recently opened collections of Wharton's letters, Shari Benstocks̀ biography offers new information on what have been called the key mysteries of her life: the question of her paternity, her troubled relations with her mother and older brothers, her marriage to manic-depressive Teddy Wharton, and her extramarital affair with Morton Fullerton. No Gifts from Chance also examines long-ignored facets of Wharton's life - her complex and often calculating relationships with publishers, her internationally acclaimed charitable work during World War I, and the poignant story of her ultimate financial distress that contributed to her death, a story told here for the first time. At the center of this biography is Wharton's writing life. No Gifts from Chance charts her immense literary productivity (some forty-seven books, including The Age of Innocence, The House of Mirth, and Ethan Frome), tracking her writing processes from notebook entries through editorial revisions and examining the critical reception of her narrative fiction, poetry, travel writing, literary and cultural criticism, and memoir. Here, too, is a rare glimpse of the intricate relationship between the writer's public reputation and her private life, from her lonely literary apprenticeship in late-Victorian America to her emergence as a literary figure in Edwardian England and Belle Epoque Paris, when she developed enduring friendships with Henry James and Bernard Berenson, to her Age of Acclaim as America's most respected writer during the postwar jazz age. A magisterial Edith Wharton dominates these pages: astute and tough-minded in business, passionate and sexually confident in love, audacious and prolific in her art, principled and courageous in her life. This is the story of an artist who had no role models in a society that feared creative and independent women, but who triumphantly defied convention and made herself into America's first great and most beloved woman novelist.

Cover of Revolution and the form of the British novel, 1790-1825

Revolution and the form of the British novel, 1790-1825

Nicola J. Watson

Whatever happened to the epistolary novel? Why was it that by 1825 the principal narrative form of eighteenth-century fiction had been replaced by the third-person and often historicized models which have predominated ever since? Nicola Watson's original and wide-ranging study charts the suppression of epistolary fiction, exploring the attempted radicalization of the genre by Wollstonecraft and other feminists in the 1790s; its rejection and parody by Jane Austen and Maria Edgeworth: the increasingly discredited role played by letters in the historical novels of Jane Porter, Sydney Morgan, and Walter Scott; and their troubling, ghostly presence in the gothic narratives of James Hogg and Charles Maturin. The shift in narrative method is seen as a response to anxieties about the French Revolution, with the epistolary, feminized, and sentimental plot replaced by a more authoritarian third-person mode as part of a wider redrawing of the relation between the individual and social consensus. This is a brilliant and innovative reading of the place of the novel in the reformulation of British national identity in the Napoleonic period, throwing new light on writers as diverse as Hazlitt, Charlotte Smith, Walter Scott, Helen Maria Williams, and Byron.

Cover of The infidel stain

The infidel stain

M.J. Carter

"Blake and Avery return in the stunning sequel to M. J. Carter's lauded fiction debut, The Strangler Vine. London, 1841. Returned from their adventures in India, Jeremiah Blake and William Avery have both had their difficulties adapting to life in Victorian England. Moreover, time and distance have weakened the close bond between them, forged in the jungles of India. Then a shocking series of murders in the world of London's gutter press forces them back together. The police seem mysteriously unwilling to investigate, then connections emerge between the murdered men and the growing and unpredictable movement demanding the right to vote for all. In the back streets of Drury Lane, among criminals, whores, pornographers, and missionaries, Blake and Avery must race against time to find the culprit before he kills again. But what if the murderer is being protected by some of the highest powers in the land?"--

Cover of Charlotte Gray

Charlotte Gray

Sebastian Faulks

A worthy successor to Birdsong' Alain de BottonIn 1942, Charlotte Gray, a young scottish woman, goes to Occupied France on a dual mission: to run an apparently simple errand for a British special oeprations group and to search for her lover, an English airman who has gone missing in action. In the small town of Lavaurette, Sebastian Faulks presents a microcosm of France and its agony in 'the black years'. Here is the full range of collaboration, from the tacit to the enthusistic, as well as examples of extraordinary courage and altruism. Through the local resistance chief Julien, Charlotte meets his father, a Jewish painter whose inspiration has failed him.In a series of shocking narrative climaxes in which the full extent of French collusion in the Nazi holocaust is delineated, Faulks brings the story to a resolution of redemptive love. In the delicacy of its writing, the intimacy of its characterisation and its powerful narrative scenes of harrowing public events, Charlotte Gray is a worthy successor to Birdsong.

The blood detective by Dan Waddell | Literally Just Books