The Secret Of The Gypsy Queen

A little girl must save her kingdom when she is the only one who does not fall for the pop pseudoscience of the day.

The winner of the Agatha, Anthony, and Macavity Awards for Best First Novel. Mystery writer Tracy Eaton attends her sister-in-law's wedding where the bride is kidnapped. When her bickering in-laws refuse to call the police and insist on paying a ransom, Tracy uses her innate nosiness to get to the shocking truth and the Eaton family secret.

The Gypsy Queen's Vow

Gypsy is a compelling historical novel of survival from international number one bestselling author Lesley Pearse. Tragedy sent her on a journey far from home . . . Fifteen-year-old Beth's life is shattered when she and her brother Sam are orphaned. Believing that only in America can they make a fresh start, brother and sister leave Liverpool and embark on the greatest adventure of their lives. In New York, Beth's talent with the fiddle earns her the friendship of gamblers, chancers and other rogues. Dodging trouble across America, Beth and her friends head for the Klondike river in search of gold. How far must Beth go to find happiness? And will her travels lead this gypsy to a place she can ever call home? Praise for Lesley Pearse: 'With characters it is impossible not to care about . . . this is storytelling at its very best' Daily Mail 'Lose yourself in this epic saga' Bella 'An emotional and moving epic you won't forget in a hurry' Woman's Weekly Find Lesley on Twitter @LesleyPearse or find out more on her website, www.lesleypearse.co.uk.

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The era of the German Occupation of France constituted, surprisingly, a golden age for the arts: literature, theater, popular music and cinema. These works of art seem to be devoid of political impact. The widespread trend of unrealistic and fantastic art during this period is explained by some scholars as the artists escape from the omnipotent eye of German censorship. The purpose of the book is to show that, contrary to the accepted view, some of these films were intimately linked to the political situation. They convey the demonization of characters that, while not specifically presented as Jews nevertheless manifested anti-Semitic stereotypes of the Jew as ugly, rootless, low, hypocritical, immoral, cruel and power hungry. All five movies analysed (Les Inconnus dans la maison, dir. Henri Decoin, 1942; Les Visiteurs du Soir, dir. Marcel Carne, 1942; L'Eternel retour, dir. Jean Delannoy, 1943; Les Enfants du Paradis, dir. Marcel Carne, 1943) present characters not identified as Jews but who exhibit negative Jewish traits, in contrast to the aristocratic characters whom they aspire to emulate. They demonstrate, implicitly, central themes of explicit anti-Semitic propaganda. Yehuda Moraly addresses two current major misconceptions regarding the Cinema of Occupied France: (1) that the accepted view that there were almost no explicitly Jewish characters in the cinema of that time and place is patently incorrect; and (2) that the feature films of Occupied France were not as it is commonly thought free of the propaganda messages that permeated the press, the radio and documentary films. Analysis of these films brings out the contradictory nature of European anti-Semitism. On one hand, the Jew is the anti-Christ, throttling the world with disgusting materialism while on the other hand, he is representative of an ancestral stifling morality, which it is time to abolish.