Shades Of Murder

Since the end of the nineteenth century, the Oakley family of Bamford, England, has lived in the shadow of tragedy. In 1889, Cora Oakley died by inhaling a poisonous gas in her sleep, and her husband William was put on trial for the murder. Although the case was dismissed, Oakley's reputation was ruined, and he fled the country, never to be heard from again. Over a hundred years later, the only remaining members of the Oakley family are two elderly sisters living in Bamford, who exist in poverty in their rambling ancestral home, Fourways. Unable to maintain their mansion, the sisters have decided to sell the house and live comfortably on the proceeds. But a young Polish man named Jan appears, claiming to be William Oakley's great-grandson and brandishing what he alleges is Oakley's will, which entitles him to half the profits from the sale. The sisters panic, knowing that, although Jan's claims don't stand up, a court case could drag on for years, and time is not on their side. When Jan is found dead, poisoned by the same substance used to kill his great-grandmother so many years ago, it seems that murder has returned to haunt the Oakley family once again, and Superintendent Markby must unravel two mysteries, one from a hundred years ago, to find the killer. In Shades of Murder, Ann Granger has crafted another tough case for Mitchell and Markby.

One August night in 1931, on a secluded mountain ridge overlooking Birmingham, Alabama, three young white women were brutally attacked. The sole survivor, Nell Williams, age eighteen, said a black man had held the women captive for four hours before shooting them and disappearing into the woods. That same night, a reign of terror was unleashed on Birmingham's black community: black businesses were set ablaze, posses of armed white men roamed the streets, and dozens of black men were arrested in the largest manhunt in Jefferson County history. Weeks later, Nell identified Willie Peterson as the attacker who killed her sister Augusta and their friend Jennie Wood. With the exception of being black, Peterson bore little resemblance to the description Nell gave the police. An all-white jury convicted Peterson of murder and sentenced him to death. In Murder on Shades Mountain Melanie S. Morrison tells the gripping and tragic story of the attack and its aftermath—events that shook Birmingham to its core. Having first heard the story from her father—who dated Nell's youngest sister when he was a teenager—Morrison scoured the historical archives and documented the black-led campaigns that sought to overturn Peterson's unjust conviction, spearheaded by the NAACP and the Communist Party. The travesty of justice suffered by Peterson reveals how the judicial system could function as a lynch mob in the Jim Crow South. Murder on Shades Mountain also sheds new light on the struggle for justice in Depression-era Birmingham. This riveting narrative is a testament to the courageous predecessors of present-day movements that demand an end to racial profiling, police brutality, and the criminalization of black men.

A mansion, a murder and a century-long mystery... Shades of Murder is the thirteenth mystery in the Mitchell & Markby series by Ann Granger, who is highly praised for her strong and appealing characters, wit and engrossing plots. The perfect read for fans of M.C. Beaton, Agatha Christie and ITV's Midsomer Murders. 'The narrative keeps the reader gripped until the end' - Wiltshire Times In 1889 Cora Oakley died by inhaling a poisonous gas in her sleep, and her husband William was put on trial for her murder. Over a hundred years later, the only remaining members of the family are two elderly sisters who live in the ancestral home. Unable to maintain the mansion, the sisters decide to sell up and live off the proceeds. Then a young Polish man named Jan appears, claiming to be William Oakley's great-grandson and threatening to ruin the sisters' plans. When he is found dead, it seems that the shadow of murder has returned to haunt the Oakley family again, and Superintendent Markby must look back at the events of a century ago to find the killer... What readers are saying about Shades of Murder: 'The characterisation and dialogue are as sharp as ever, and the plot is great!' 'The characters were well drawn in both past and present strands of the book with some very neat twists' 'Two separate murder mysteries, unfolding in turn, chapter by chapter, gave me double delight'

The day Finn Maguire discovers his dad bludgeoned to death in a pool of blood, his dreary life is turned upside down. Prime suspect in his father’s murder, Finn must race against time to clear his name and find out who hated his dad enough to kill him. Scouring the sordid, brutal London underworld for answers, exposing dark family secrets, and facing danger at every turn, Finn is about to learn that it’s the people you trust who can hit you the hardest. . . Crusher is this year’s most talked-about debut thriller.

Black and white turn to shades of gray as the sinister Diablo offers the seduction of wealth to those willing to murder for it. It's up to detectives Ventura, Pretraius, and Lakota Rising Star to tie the clues together and stop the killings.

Since the end of the nineteenth century, the Oakley family of Bamford, England, has lived in the shadow of tragedy. In 1889, Cora Oakley died by inhaling a poisonous gas in her sleep, and her husband William was put on trial for the murder. Although the case was dismissed, Oakley's reputation was ruined, and he fled the country, never to be heard from again. Over a hundred years later, the only remaining members of the Oakley family are two elderly sisters living in Bamford, who exist in poverty in their rambling ancestral home, Fourways. Unable to maintain their mansion, the sisters have decided to sell the house and live comfortably on the proceeds. But a young Polish man named Jan appears, claiming to be William Oakley's great-grandson and brandishing what he alleges is Oakley's will, which entitles him to half the profits from the sale. The sisters panic, knowing that, although Jan's claims don't stand up, a court case could drag on for years, and time is not on their side. When Jan is found dead, poisoned by the same substance used to kill his great-grandmother so many years ago, it seems that murder has returned to haunt the Oakley family once again, and Superintendent Markby must unravel two mysteries, one from a hundred years ago, to find the killer. In "Shades of Murder," Ann Granger has crafted another tough case for Mitchell and Markby.

The penultimate book in the Carly Moore Series For six months, Carly Moore has been trying to bring down the town patriarch, Bart Drummond. Everyone knows he’s behind a “favor” system that has often ended in murder, but no one has ever been able to prove it. Until now. Carly has a lead that might crack the case wide open but her investigation comes to a screeching halt when someone close to her is killed. Now her only goal is to bring the killer to justice. But the more she digs, the more she can’t help but wonder if the murder is the handiwork of Bart Drummond after all…

For this was the summer when, after the hiatus of the Second World War, French critics were again given the opportunity to view films from Hollywood. The films they saw, including The Maltese Falcon, Double Indemnity. Laura, Murder, My Sweet, and The Woman in the Window, prompted the naming and theorization of a new phenomenon: film noir. Much of what has been written about the genre since has remained within the orbit of this preliminary assessment. While sympathetic towards the early French critics, this collection of original essays attempts to move beyond their first fascinated look. Beginning with an autonomy of that look—of the 'poujadist' climate that nourished it and the imminent collapse of the Hollywood studio system that gave it its mournful inflection—Shades of Noir re-explores and calls into question the object first constructed by it. The impetus for this shift in perspective comes from the films themselves, viewed in the light of contemporary social and political concerns, and from new theoretical insights. Several contributions analyze the re-emergence of noir in recent years, most notably in the hybrid forms produced in the 1980s by the merging of noir with science fiction and horror, for example Blade Runner and Angel Heart, and in films by black directors such as Deep Cover, Straight out of Brooklyn, A Rage in Harlem and One False Move. Other essays focus on the open urban territory in which the noir hero hides out; the office spaces in Chandler, and the palpable sense of waiting that fills empty warehouses, corridors and hotel rooms. Finally, Shades of Noir pays renewed attention to the lethal relation between the sexes; to the femme fatale and the other women in noir. As the role of women expands, the femme fatale remains deadly, but her deadliness takes on new meanings. Contributors: Janet Bergstrom, Joan Copjec, Elizabeth Cowie, Manthia Diawara, Frederic Jameson, Dean MacCannel, Fred Pfeil, David Reid and Jayne L. Walker, Marc Vernet, Slavoj Zizek.