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The hotly anticipated follow-up to The Tumbling Girl, The
Innocents follows Minnie and Albert on a new crime-solving quest in
the world of a Victorian music hall. A string of murders has torn
through London, throwing together the now notorious Minnie Ward and
Albert Easterbrook once again. It seems that the crimes all
link back to a tragedy fourteen years ago that left 183 children
dead. But given that the incident touched so many people’s lives,
everyone is a suspect . . .
The first in a sharp, witty series of Victorian mystery novels, The
Tumbling Girl sees an unlikely duo team up to solve a grisly spate
of murders. 1876, Victorian London. Minnie Ward, the feisty
scriptwriter for the Variety Palace Music Hall, is devastated when
her best friend is found brutally murdered. She enlists the help of
private detective Albert Easterbrook, who already has his hands
full trying to catch the notorious Hairpin Killer. But Minnie can't
help getting involved in the investigation, and as the bodies begin
to pile up, Albert's burgeoning feelings for his amateur partner
start to interfere... A dazzling debut for fans of Sarah Waters and
Elizabeth Macneal, and shows like Miss Scarlet and the Duke.
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The Tumbling Girl
Bridget Walsh
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R267
Discovery Miles 2 670
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Ships in 12 - 17 working days
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'Splendid' Wall Street Journal 'A wry, warm and proper rib-tickling
slice of dirty Victorian gothic’ Julia Crouch 1876,
Victorian London. Minnie Ward, a feisty scriptwriter for the
Variety Palace Music Hall, is devastated when her best friend is
found brutally murdered. She enlists the help of private detective
Albert Easterbrook to help her find justice. Together they
navigate London, from its high-class clubs to its murky underbelly.
But as the bodies pile up, they must rely on one another if
they’re going to track down the killer – and make it out alive
. . . The first in a sharp, witty series of Victorian mystery
novels, The Tumbling Girl is sure to delight fans of Sarah
Waters, Elizabeth Macneal, and Miss Scarlet and the Duke.
Why did certain domestic murders fire the Victorian imagination? In
her analysis of literary and cultural representations of this
phenomenon across genres, Bridget Walsh traces how the perception
of the domestic murderer changed across the nineteenth century and
suggests ways in which the public appetite for such crimes was
representative of wider social concerns. She argues that the
portrayal of domestic murder did not signal a consensus of opinion
regarding the domestic space, but rather reflected significant
discontent with the cultural and social codes of behaviour
circulating in society, particularly around issues of gender and
class. Examining novels, trial transcripts, medico-legal documents,
broadsides, criminal and scientific writing, illustration and,
notably, Victorian melodrama, Walsh focuses on the relationship
between the domestic sphere, so central to Victorian values, and
the desecration of that space by the act of murder. Her book
encompasses the gendered representation of domestic murder for both
men and women as it tackles crucial questions related to Victorian
ideas of nationhood, national health, political and social
inequality, newspaper coverage of murder, unstable and contested
models of masculinity and the ambivalent portrayal of the female
domestic murderer at the fin de siecle.
Why did certain domestic murders fire the Victorian imagination? In
her analysis of literary and cultural representations of this
phenomenon across genres, Bridget Walsh traces how the perception
of the domestic murderer changed across the nineteenth century and
suggests ways in which the public appetite for such crimes was
representative of wider social concerns. She argues that the
portrayal of domestic murder did not signal a consensus of opinion
regarding the domestic space, but rather reflected significant
discontent with the cultural and social codes of behaviour
circulating in society, particularly around issues of gender and
class. Examining novels, trial transcripts, medico-legal documents,
broadsides, criminal and scientific writing, illustration and,
notably, Victorian melodrama, Walsh focuses on the relationship
between the domestic sphere, so central to Victorian values, and
the desecration of that space by the act of murder. Her book
encompasses the gendered representation of domestic murder for both
men and women as it tackles crucial questions related to Victorian
ideas of nationhood, national health, political and social
inequality, newspaper coverage of murder, unstable and contested
models of masculinity and the ambivalent portrayal of the female
domestic murderer at the fin de siecle.
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