A fresh adaptation of English literature’s first great detective novel.

When Franklin Blake returns to England, he is forced to face the ghosts he fled a year ago when the Moonstone, a priceless Indian diamond, was stolen.

Rachel Verinder, Franklin’s beautiful young cousin, inherited the stone from her uncle on her 18th birthday. It was always said that the stone carried a curse and the morning after her birthday party, it was missing. In the aftermath of the theft, Rachel cut off all ties with Franklin - the man she had loved. A year later and Franklin is determined to heal the rift between them.

But Rachel has one condition - she won’t see him until he can tell her exactly what happened to the diamond that night. Only then can Franklin win back the love of his life.

'Sophie Ward is a dazzling talent who writes like a modern-day F Scott Fitzgerald' Elizabeth Day, author of How To Fail 'An act of such breath-taking imagination, daring and detail that the journey we are on is believable and the debate in the mind non-stop. There are elements of Doris Lessing in the writing - a huge emerging talent here' Fiona Shaw 'A towering literary achievement' Ruth Hogan, author of The Keeper of Lost Things 'Philosophy meets fiction in this beguiling and intriguing novel of minds, hearts, other worlds, love, death and everything in between. It's a book that dances and dazzles with ideas and left me thinking long after I finished it' Sophie Kinsella Rachel and Eliza are hoping to have a baby. The couple spend many happy evenings together planning for the future. One night Rachel wakes up screaming and tells Eliza that an ant has crawled into her eye and is stuck there. She knows it sounds mad - but she also knows it's true. As a scientist, Eliza won't take Rachel's fear seriously and they have a bitter fight. Suddenly their entire relationship is called into question. Inspired by some of the best-known thought experiments in philosophy, particularly philosophy of mind, Love and Other Thought Experiments is a story of love lost and found across the universe.

Kevin Whately returns in the title role for the fourth series of ITV's 'Morse' spin-off crime drama series. The much-loved Oxford policeman is once again joined by his trusty sidekick, Det Sgt James Hathaway (Laurence Fox) as he investigates more mysterious murders in the idyllic surroundings of the University campus. Episodes are: 'Dark Matter ', 'Your Sudden Death Question', 'Falling Darkness' and 'The Dead of Winter'.

Five-part fantasy horror series starring John Simm, Martin Clunes, Phyllis Logan and Nigel Havers. In 'Prophecy' a seance has disastrous consequences for a group of friends. In 'Toby' a pregnant woman believes an evil spirit is haunting her after losing her last unborn baby in a car accident. In 'Mirror Man' a homeless man is driven to a violent act by a mysterious figure. In 'The Man Who Didn't Believe in Ghosts' a cynical writer attempts to prove that ghosts are not real by staying in a haunted house. In 'Number Six' Yorkshire police hunt for a child murderer who takes his victims when the moon is full.

Set in rural North Yorkshire during the 1960s, Heartbeat's combination of crime and medical storylines, charismatic regular characters and wonderfully nostalgic soundtrack made it staple Sunday-night viewing for two decades, with the series' many prestigious awards including Best Performing Peak-Time Drama and several ITV Programme of the Year awards. Attracting a peak audience of 14 million, Heartbeat has garnered a devoted following and remains prime-time viewing world-wide.

This series sees more challenging situations arising for Aidensfield's police and medical staff, as PC Phil Bellamy faces personal trauma during a hunt for two escaped prisoners, Dr Helen Trent finds herself under suspicion in a suspected case of mercy-killing, and Sgt Miller is involved in a tragedy that leaves his career hanging in the balance. Guest stars include Peter Vaughan, George Cole, Elizabeth Spriggs, Leslie Phillips, Phyllis Logan and Tim Brooke-Taylor.

John Harrison directs this British horror based on two short stories by Clive Barker: 'The Book of Blood' and 'On Jerusalem Street'. Jonas Armstrong stars as Simon McNeal, a college student known for his psychic powers who is employed by paranormal researcher Mary Florescu (Sophie Ward) to investigate a haunted house where a gruesome murder has taken place. As the pair uncover the house's dark and shocking secret, the divide between the living and the dead becomes dangerously blurred - with brutal and bloody consequences.

Shakespeare is revered as the greatest writer in the English language, yet education reform in the English-speaking world is informed primarily by the 'market order', rather than the kind of humanism we might associate with Shakespeare. By considering Shakespeare's dramatisation of the principles that inform neoliberalism, this book makes an important contribution to the debate on the moral failure of the market mechanism in schools and higher education systems that have adopted neoliberal policy. The utility of Shakespeare's plays as a means to explore our present socio-economic system has long been acknowledged. As a Renaissance playwright located at the junction between feudalism and capitalism, Shakespeare was uniquely positioned to reflect upon the nascent market order. As a result, this book utilises six of his plays to assess the impact of neoliberalism on education. Drawing from examples of education policy from the UK and North America, it demonstrates that the alleged innovation of the market order is premised upon ideas that are rejected by Shakespeare, and it advocates Shakespeare's humanism as a corrective to the failings of neoliberal education policy. Using Shakespeare's Plays to Explore Education Policy Today will be of key interest to researchers, academics and students in the fields of education policy and politics, educational reform, social and economic theory, English literature and Shakespeare.

Shakespeare is revered as the greatest writer in the English language, yet education reform in the English-speaking world is informed primarily by the `market order', rather than the kind of humanism we might associate with Shakespeare. By considering Shakespeare's dramatisation of the principles that inform neoliberalism, this book makes an important contribution to the debate on the moral failure of the market mechanism in schools and higher education systems that have adopted neoliberal policy. The utility of Shakespeare's plays as a means to explore our present socio-economic system has long been acknowledged. As a Renaissance playwright located at the junction between feudalism and capitalism, Shakespeare was uniquely positioned to reflect upon the nascent market order. As a result, this book utilises six of his plays to assess the impact of neoliberalism on education. Drawing from examples of education policy from the UK and North America, it demonstrates that the alleged innovation of the market order is premised upon ideas that are rejected by Shakespeare, and it advocates Shakespeare's humanism as a corrective to the failings of neoliberal education policy. Using Shakespeare's Plays to Explore Education Policy Today will be of key interest to researchers, academics and students in the fields of education policy and politics, educational reform, social and economic theory, English literature and Shakespeare.

IN THE TRADITION OF "WIDE SARGASSO SEA," "HAVISHAM" IS THE ASTONISHING PRELUDE TO CHARLES DICKENS'S "GREAT EXPECTATIONS."
Before she became the immortal and haunting Miss Havisham of "Great Expectations," she was Catherine, a young woman with all of her dreams ahead of her. Spry, imperious, she is the daughter of a wealthy brewer. But she is never far from the smell of hops and the arresting letters on the brewhouse wall--HAVISHAM--a reminder of all she owes to the family name and the family business.

Sent by her father to stay with the Chadwycks, Catherine discovers elegant pastimes to remove the taint of her family's new money. But for all her growing sophistication, Catherine is anything but worldly, and when a charismatic stranger pays her attention, everything--her heart, her future, the very Havisham name--is vulnerable.

In "Havisham," Ronald Frame unfurls the psychological trauma that made young Catherine into Miss Havisham and cursed her to a life alone, roaming the halls of the mansion in the tatters of the dress she wore for the wedding she was never to have.

A "Kirkus Reviews "Best Fiction Book of 2013