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THE THIRD AND FINAL THRILLING BOOK IN THE BESTSELLING AND AWARD-WINNING A GOOD GIRL'S GUIDE TO MURDER TRILOGYA Good Girl's Guide to Murder is The New York Times No.1 bestselling YA crime thriller and WINNER of The British Book Awards' Children's Book of the Year 2020 and shortlisted for the Waterstones Children's Book Prize 2020Pip Fitz-Amobi is haunted by the way her last investigation ended. Soon she'll be leaving for Cambridge University but then another case finds her . . . and this time it's all about Pip. Pip is used to online death threats, but there's one that catches her eye, someone who keeps asking: who will look for you when you're the one who disappears? And it's not just online. Pip has a stalker who knows where she lives. The police refuse to act and then Pip finds connections between her stalker and a local serial killer. The killer has been in prison for six years, but Pip suspects that the wrong man is behind bars. As the deadly game plays out, Pip realises that everything in Little Kilton is finally coming full circle. If Pip doesn't find the answers, this time she will be the one who disappears . . .A Good Girl's Guide to Murder is The New York Times No.1 bestselling YA crime thriller and WINNER of The British Book Awards' Children's Book of the Year 2020. SHORTLISTED FOR THE WATERSTONES CHILDREN'S BOOK PRIZE 2020Perfect for fans of One of Us Is Lying,Eva Dolan, C L Taylor, We Were Liars and Riverdale
A thrilling prequel story to the bestselling, award-winning A Good Girl's Guide to Murder!A GOOD GIRL'S GUIDE TO MURDER IS THE WINNER OF THE BRITISH BOOK AWARDS' CHILDREN'S BOOK OF THE YEAR 2020 AND WAS SHORTLISTED FOR THE WATERSTONES CHILDREN'S BOOK PRIZE 2020Pippa Fitz-Amobi is not in the mood for her friend's murder mystery party. Especially one that involves 1920's fancy dress and pretending that their town, Little Kilton, is an island called Joy. But when the game begins, Pip finds herself drawn into the make-believe world of intrigue, deception and murder.But as Pip plays detective, teasing out the identity of the killer clue-by-clue, the murder of the fictional Reginald Remy isn't the only case on her mind ...Find out where it all began for Pip in this prequel to the best-selling A Good Girl's Guide to Murder and Good Girl, Bad Blood.Warning: Contains mature content, for older readers"e;Nail-biting, taut and pacy. Jackson [is] a homegrown thriller writer to watch.... - Guardian
An emotional journey of eroticism, danger, entrapment, escapism, hope and faith in love and triumph over adversity, and the dark secret that lay hidden in the shadows of the lies that surrounded her. Gripped and trapped in the sinister evil, lurking and twisting around every step of her strong will to survive and succeed. Will she succumb to the cruel twisted fate of her adversaries, the sexual temptation of her misguided path or find the strength within to reach for her destiny and succeed?Jade, one woman's journey, this is her story, this is her reality. Inspired by true events.
Conventional understandings of the family in nineteenth-century literary studies depict a venerated institution rooted in sentiment, sympathy, and intimacy. American Blood upends this notion, showing how novels of the period frequently emphasize the darker sides of the vaunted domestic unit. Rather than a source of security and warmth, the family emerges as exclusionary, deleterious to civic life, and antagonistic to the political enterprise of the United States. Through inventive readings supported by cultural-historical research, Holly Jackson explores critical depictions of the family in a range of both canonical and forgotten novels. Republican opposition to the generational transmission of property in early America emerges in Nathaniel Hawthorne's The House of the Seven Gables (1851). The "e;tragic mulatta"e; trope in William Wells Brown's Clotel (1853) is revealed as a metaphor for sterility and national death, linking mid-century theories of hybrid infertility to anxieties concerning the nation's crisis of political continuity. A striking interpretation of Harriet Beecher Stowe's Dred (1856) occupies a subsequent chapter, as Jackson uncovers how the author most associated with the enshrinement of domestic kinship deconstructs both scientific and sentimental conceptions of the family. A focus on feminist views of maternity and the family anchor readings of Anna E. Dickinson's What Answer? (1868) and Sarah Orne Jewett's The Country of the Pointed Firs (1896), while a chapter on Pauline Hopkins's Hagar's Daughter (1901) examines how it engages with socio-scientific discourses of black atavism to expose the family's role not simply as a metaphor for the nation but also as the mechanism for the reproduction of its unequal social relations. Cogently argued, clearly written, and anchored in unconventional readings, American Blood presents a series of lively arguments that will interest literary scholars and historians of the family, as it reveals how nineteenth-century novels imagine-even welcome-the decline of the family and the social order that it supports.