An Act Of Villainy

Edgar Award-shortlisted author Ashley Weaver returns with the fifth installment in the Amory Ames mystery series. An Act of Villainy is an a gem, set in 1930s London and filled with style, banter, and twists that traditional mystery fans will positively relish. "So you've gotten yourself involved with another murder, have you?" Walking through London’s West End after a night at the theater, Amory Ames and her husband Milo run into wealthy investor and former actor Gerard Holloway. Holloway and his wife Georgina are old friends of theirs, and when Holloway invites them to the dress rehearsal of a new play he is directing, Amory readily accepts. However, Amory is shocked to learn that Holloway has cast his mistress, actress Flora Bell, in the lead role. Furthermore, the casual invitation is not what it seems—he admits to Amory and Milo that Flora has been receiving threatening letters, and he needs their help in finding the mysterious sender. Despite Amory’s conflicting feelings—not only does she feel loyalty to Georgina, but the disintegration of the Holloways’ perfect marriage seems to bode ill for her own sometimes delicate relationship—her curiosity gets the better of her, and she begins to make inquiries. It quickly becomes clear that each member of the cast has reason to resent Flora—and with a group so skilled in the art of deception, it isn’t easy to separate truth from illusion. When vague threats escalate, the scene is set for murder, and Amory and Milo must find the killer before the final curtain falls. Also out now in the Amory Ames mysteries: Murder at the Brightwell, Death Wears a Mask, A Most Novel Revenge, and The Essence of Malice.

Walking through London's West End after a night at the theatre, Amory Ames and her husband Milo run into old friends, the wealthy investor and former actor Gerard Holloway and his wife Georgina. When Holloway invites them to the dress rehearsal of a new play he is directing, Amory readily accepts. However, she is shocked to learn that Holloway has cast his mistress, actress Flora Bell, in the lead role. Furthermore, the casual invitation is not what it seems - he admits to Amory and Milo that Flora has been receiving threatening letters, and he needs their help in finding the mysterious sender. Despite Amory's conflicting feelings, she begins to make inquiries.

Walking through London's West End after a night at the theatre, Amory Ames and her husband Milo run into old friends, the wealthy investor and former actor Gerard Holloway and his wife Georgina. When Holloway invites them to the dress rehearsal of a new play he is directing, Amory readily accepts. However, she is shocked to learn that Holloway has cast his mistress, actress Flora Bell, in the lead role. Furthermore, the casual invitation is not what it seems-he admits to Amory and Milo that Flora has been receiving threatening letters, and he needs their help in finding the mysterious sender. Despite Amory's conflicting feelings-not only does she feel loyalty to Georgina, but the disintegration of the Holloways' perfect marriage seems to bode ill for her own sometimes delicate relationship-her curiosity gets the better of her, and she begins to make inquiries.

Performativity of Villainy and Evil in Anglophone Literature and Media studies the performative nature of evil characters, acts and emotions across intersecting genres, disciplines and historical eras. This collection brings together scholars and artists with different institutional standings, cultural backgrounds and (inter)disciplinary interests with the aim of energizing the ongoing discussion of the generic and thematic issues related to the representation of villainy and evil in literature and media. The volume covers medieval literature to contemporary literature and also examines important aspects of evil in literature such as social and political identity, the gothic and systemic evil practices. In addition to literature, the book considers examples of villainy in film, TV and media, revealing that performance, performative control and maneuverability are the common characteristics of villains across the different literary and filmic genres and eras studied in the volume.

Obscene poetry, servants' slanders against their masters, the diabolical acts of those who committed massacre and regicide. This is a book about the harmful, outward manifestation of inner malice—villainy—in French culture (1463-1610). In pre-modern France, villainous offences were countered, if never fully contained, by intersecting legal and literary responses. Combining the methods of legal anthropology with literary and historical analysis, this study examines villainy across juridical documents, criminal records, and literary texts. Whilst few people obtained justice through the law, many pursued out-of-court settlements of one kind or another. Literary texts commemorated villainies both fictitious and historical; literature sometimes instantiated the process of redress, and enabled the transmission of conflicts from one context to another. Villainy in France follows this overflowing current of pre-modern French culture, examining its impact within France and across the English Channel. Scholars and cultural critics of the Anglophone world have long been fascinated by villainy and villains. This book reveals the subject's significant 'Frenchness' and establishes a transcultural approach to it in law and literature. In this study, villainy's particular significance emerges through its representation in authors remembered for their less-than respectable, even criminal, activities: François Villon, Clément Marot, François Rabelais, Pierre de L'Estoile, Christopher Marlowe, Ben Jonson, John Marston, and George Chapman. Villainy in France affords legal-literary comparison of these authors alongside many of their lesser-known contemporaries; in so doing, it reinterprets French conflicts within a wider European context, from the mid-fifteenth century to the early seventeenth century.

This collection of essays explores the representations, incarnations and manifestations of evil when it is embodied in a particular villain or in an evil presence. All the essays contribute to showing how omnipresent yet vastly under-studied the phenomena of the villain and evil are. Together they confirm the importance of the continued study of villains and villainy in order to understand the premises behind the representation of evil, its internal localized logic, its historical contingency, and its specific conditions.

Masculinity and Patriarchal Villainy in the British Novel: From Hitler to Voldemort sits at the intersection of literary studies and masculinity studies, arguing that the villain, in many works of contemporary British fiction, is a patriarchal figure that embodies an excess of patriarchal power that needs to be controlled by the hero. The villains' stories are enactments of empowerment fantasies and cautionary tales against abusing patriarchal power. While providing readers with in-depth studies of some of the most popular contemporary fiction villans, Sara Martín shows how current representations of the villain are not only measured against previous literary characters but also against the real-life figure of the archvillain Adolf Hitler.