Miss Sinclair S Secret

Anna Sinclair is an English lady who refuses to settle—not if all her friends have love matches. When she receives notification that her father, General Sinclair, is missing and presumed dead in America shortly after the War of 1812, she knows she has nothing to lose by going to find him. In an untamed country, she’ll need to navigate the Mississippi River, miles of wilderness, earthquakes, Indians, and one absurdly attractive American sea captain. Nathaniel Johnson is an American patriot whose only goal is to return to the country he loves with his recently located brother, a sailor impressed by the British. The money offered to escort a young English woman to the United States is too much to pass up when he’s desperately trying to save his family’s shipping empire. The beautiful lady spins a ridiculous tale about looking for her father, but Nate has powerful reasons to believe she’s a spy for the Crown. He’ll help her on her quest, at least until he can prove her villainous intent. Will Anna’s secret destroy his country and be his undoing?

Annie and Liam call on their friends Francis and Zoe to help when a strange group visits Treecrest and takes over the hunting grounds.

Sarah Grant is holding it all together after the accidental death of her husband, the same accident that left her with a disabled child. She’s doing a pretty good job of it, too, until her son gets a new therapist. While Mr. Miller is full of unrealistic—and possibly dangerous—ideas, he’s also incredibly attractive. Driven by guilt, she’ll never let anything bad happen to Sidney again. Unfortunately, the more she’s forced to deal with Mr. Miller, the more she remembers she’s more than just someone’s mom. It’s hard to focus on getting the man fired when she’s set aflame whenever he’s around. Zachary Miller didn’t expect his forced retirement from the military to be easy but dealing with Sidney’s mom was more than he’d bargained for. He’d faced down the enemy in combat and survived, but this woman could oppose anyone and win with her cool, no-nonsense gaze. She’s a force to be reckoned with even while she makes him want to forget the scars that define him. He’d bet good money that under her ice queen façade burns a fire ready to illuminate the dark future that terrifies him and keep his demons at bay. Maybe Sarah Grant and her son are exactly what he needs to pull himself into the light. Can Sarah and Zach leave their broken pasts behind and find healing in each other?

'Authentic social history at the birth of the NHS, an intriguing murder, a strong and convincing central character, and McPherson's wonderful story-telling skills make this a very classy mystery' ANN CLEEVES Helen leaned close enough to fog the mirror with her breath and whispered, 'You, my girl, are a qualified medical almoner and at eight o'clock tomorrow morning you will be on the front line of the National Health Service of Scotland.' Her eyes looked huge and scared. 'So take a shake to yourself!'' Edinburgh, 1948. Helen Crowther leaves a crowded tenement home for her very own office in a doctor's surgery. Upstart, ungrateful, out of your depth - the words of disapproval come at her from everywhere but she's determined to take her chance and play her part. She's barely begun when she stumbles over a murder and learns that, in this most respectable of cities, no one will fight for justice at the risk of scandal. As Helen resolves to find a killer, she's propelled into a darker world than she knew existed, hardscrabble as her own can be. Disapproval is the least of her worries now. IN PLACE OF FEAR is a gripping new historical crime novel that is both enthralling and entertaining, and perfect for fans of AJ Pearce and Nicola Upson. Readers love IN PLACE OF FEAR: 'What a wonderful book this is!' 'I loved [it] ... Helen is another cracker of a heroine from McPherson and I hope to read much more of her story in future' 'Historical crime from a talented pen. Intriguing and compelling in equal measure' 'An excellent read'

Anna Sinclair is an English lady who refuses to settle-not if all her friends have love matches. When she receives notification that her father, General Sinclair, is missing and presumed dead in America shortly after the War of 1812, she knows she has nothing to lose by going to find him. In an untamed country, she'll need to navigate the Mississippi River, miles of wilderness, earthquakes, Indians, and one absurdly attractive American sea captain. Nathaniel Johnson is an American patriot whose only goal is to return to the country he loves with his recently located brother, a sailor impressed by the British. The money offered to escort a young English woman to the United States is too much to pass up when he's desperately trying to save his family's shipping empire. The beautiful lady spins a ridiculous tale about looking for her father, but Nate has powerful reasons to believe she's a spy for the Crown. He'll help her on her quest, at least until he can prove her villainous intent. Will Anna's secret destroy his country and be his undoing?

Finalist for the 2012 Edgar Award in the Best Critical/Biographical Category presented by the Mystery Writers of America In this extensive and authoritative study of over 300 films, Philippa Gates explores the "woman detective" figure from her pre-cinematic origins in nineteenth century detective fiction through her many incarnations throughout the history of Hollywood cinema. Through the lens of theories of gender, genre, and stardom and engaging with the critical concepts of performativity, masquerade, and feminism, Detecting Women analyzes constructions of the female investigator in the detective genre and focuses on the evolution of her representation from 1929 to today. While a popular assumption is that images of women have become increasingly positive over this period, Gates argues that the most progressive and feminist models of the female detective exist in mainstream film's more peripheral products such as 1930's B-picture and 1970's Blaxploitation films. Offering revisions and new insights into peripheral forms of mainstream film, Gates explores this space that allows a fantasy of resolution of social anxieties about crime and, more interestingly, gender, in the 20th and early 21st centuries. The author's innovative, engaging, and capacious approach to this important figure within feminist film history breaks new ground in the field of gender and film studies.