England -- fiction
Reality television: today, it seems to be a staple in our society. As viewers, we see a plethora of genres on reality TV, ranging from programs containing essential survival tips to contestants choosing the right man or woman for the rest of their lives. The possibilities are endless--especially when it comes to paranormal reality television, whose popularity has skyrocketed. From Ghost Hunters to Ghost Adventures, each program contains a thrilling history of the chosen haunted house or place, followed by an in-depth debunking investigation, analyzing the supposed hauntings and exposing possible natural causes for unexplained events.
In Rebecca Tingle’s The Edge on the Sword, Flæd tries to ignore the man who pursued her. In truth, he had been behind her for all of the day, and at night he would sit outside her door. Golden-haired Flæd was accustomed to running free in the great woods with her little brother Edward, only returning to her father's stronghold to take her meals with her family and her lessons from Bishop Asser.
Martha Grimes’ Vertigo 42 unfolds with Detective Superintendent Richard Jury meeting with a man who wants him to look into the long-ago death of his wife Tess. At the time, it was ruled an accident, but he has always wondered, and Jury agrees to help him. In the course of his investigations, another death takes place—that of a young woman beautifully dressed and found at the bottom of a tower. Piece by piece, the plot evolves, and the two separate cases become one. In fact, they both turn out to be linked to a still earlier case, a child’s death at a party given by Tess. Was that an accident, too?
Lucy Carlyle and Anthony Lockwood have been offered a chance to solve the mystery of The Screaming Staircase. If they complete their task, it will get their ghost detecting agency out of serious debt. If they fail, they will lose everything ... including their lives.
Gemma Doyle is furious with her mother. They may have the same untamed red hair and deep green eyes, but in Libba Bray’s historical novel A Great and Terrible Beauty they are completely at odds with each other. It’s Gemma’s 16th birthday, and try as she may, she is making no headway whatsoever with getting what she really wants for a present—a ticket back to Merrie Olde England where she can make her debut in society and meet some nice, eligible young men. But her mother won’t budge. Gemma’s to stay with her parents in India. And then something terrible happens. She gets her wish… at a horrifying cost.
Lady Jacquetta inherited the gift of Second Sight from a long-ago river goddess, or so the family legend went. What is obviously true is that she does get glimpses of what will happen to her and those around her. For example, Joan, the innocent, brave peasant girl her family has held captive to trade to the English, is almost certainly doomed. As for her own lot, the beautiful teenager who will be called The Lady of the Rivers has captured the attention of a powerful man twice her age and in time she will be his—but not as she imagines.
In Long Lankin, by Lindsey Barraclough, it’s 1958, and Cora and her small sister Mimi have been taken from their London home and dumped in the middle of the English marshes where something is waiting for them.
Flavia de Luce, an eleven-year-old genius with a flair for chemistry, lives a lonely but intriguing life in the crumbling family mansion. Her lovely older sisters delight in tormenting her, and she returns the favor with diabolical brattiness. What one can do with certain itchy plant extracts and a tube of one’s sister’s favorite lipstick! The Sweetness at the Bottom of the Pie, by C. Alan Bradley, is set in post-World War II England. It’s a simpler time in many respects though things get rather more complicated when Father’s annoying visitor turns up dead in the garden by moonlight.
In A Vision of Light, by Judith Merkle Riley, Margaret of Ashbury is a rather ordinary albeit quite pretty woman—ordinary that is, except for the Voice she sometimes hears and the visions she sometimes sees. One day, the Voice tells Margaret that she should write a book about the extraordinary things that have happened to her. She argues with the Voice… she is a woman so who would listen to her, and what is more, like nearly everybody, she does not know how to write. And further, she has not done any great deeds worth writing about.
The Voice answered:
“Put in it what you have seen. There is nothing wrong with being a woman, and doing ordinary things. Sometimes small deeds can show big ideas. As for writing, do as others do: get someone to write it for you.”
“Voice,” I said, “how do I know you are from God, and not the Devil, tempting me into something foolish?”
“Margaret,” answered the Voice, “isn’t it a good idea? God never gives bad ones.”
In Barbara Michael’s The Dancing Floor, twenty-something Heather Tradescant is taking the trip she’s dreamed of since she was a little girl—paying visits to great historical gardens in Britain. However, it’s a sorrowful journey as her hen-pecked but beloved father was supposed to be her traveling companion. They had planned it together, after all, and then he died unexpectedly. But Heather is determined to see it through, even if that means breaking into Troyton House to check out the garden. She is prepared with a camera and a notebook, but she is not prepared to be frightened out of her wits by something lurking in what might have been—and possibly still is—a sacrificial glade.