The ghost of Sherlock Holmes is dead, but who will solve his murder? The Great Detective's ghost has walked London's streets for an age, given shape by people's memories. Now someone's put a ceremonial dagger through his chest. But what's the motive? And who – or what – could kill a ghost? When policing London's supernatural underworld, eliminating the impossible is not an option. DI James Quill and his detectives have learnt this the hard way. Gifted with the Sight, they'll pursue a criminal genius – who'll lure them into a Sherlockian maze of clues and evidence. The team also have their own demons to fight. They've been to Hell and back (literally) but now the unit is falling apart . . . Paul Cornell's Who Killed Sherlock Holmes? is the third book in the urban gothic Shadow Police series.
Sherlock Holmes is one of the most recognizable—and most parodied—names in western literature. Bill Mason, BSI, collects and annotates these parody names, from the first one that appeared in 1891, to the present day. As Mason says in his introduction: One of the great aspects of Sherlock Holmes is the fact that, just as the character himself is subject to endless variation, so is his name. Ellery Queen noted that the name itself “is particularly susceptible to the twistings and mis-shapenings of burlesque minded authors.” Surely, Arthur Conan Doyle, who struggled a little with what he was going to call his detective hero, could not have known just how perfect the name he finally selected—Sherlock Holmes—would be for parody, for rhyme, for the transposing of letters and sounds, for the substitution of suggestive words in the name of a comic character. Mason’s listings are an invaluable resource for the Holmsian scholar, researcher, or for those interested in whiling away a few hours with a delightful and chuckle-inspiring volume.
Discover how three of Azeroth’s greatest champions forged their first alliance, in the official graphic prequel to the Warcaft movie from Legendary, Universal Pictures and Blizzard Entertainment. In a fantasy action epic set decades before the film, the young and headstrong Llane, Lothar, and Medivh embark on a mission of vengeance that will forge them into heroes… the kind of heroes Azeroth will need in its darkest hour.
London, 1895, and a gentleman comes calling at 221B Baker Street. Benjamin Nichols' daughter Hannah has become estranged from him, and has disappeared. Holmes and Watson soon discover that Hannah has joined a religious sect known as the Elysians, three members of which have recently turned up dead. Were these deaths tragic accidents, as the police suspect, or something more sinister? Only by infiltrating the cult will the companions discover the terrifying truth...
Reichenbach was not his deepest fall.... Autumn 1903 has not been kind to Sherlock Holmes. Irene Adler, his platonic love, is dead, and the detective has again fallen into the clutches of cocaine. Dr Watson hopes that the distraction of a marriage fraud case can help pull his friend out of his depression. But it soon becomes clear that behind the apparently banal crime lurks something much more sinister, something that will take Holmes and Watson to faraway Bohemia, where they must face an unimaginably terrible enemy. A corpse has been discovered on the grave of Rabbi Loew and Prague's Jews are whispering about the Golem...
"A psychological account of a crime" - that's how Fyodor Dostoyevsky described his novel Crime and Punishment, which tells of two horrific axe murders in St. Petersburg. It becomes much more than a mere "account," however, when a pair of dead bodies turn up in London's East End, their heads split open by an axe-blade. To Scotland Yard, the crimes are murders to solve. To Sherlock Holmes, they present an intriguing puzzle. But to the literary man, Dr. John H. Watson, they seem a deliberate re-staging of the brutal murders depicted in Dostoyevsky's narrative. If Watson is right, what can be the purpose behind an actual recreation of the fictional killings? Blocking the answer to that question is a mysterious assortment of English and Russian eccentrics, and one can only wonder if the startling revelation at the end will be dramatic enough to set matters straight.
This book investigates the development of crime fiction in the 1880s and 1890s, challenging studies of late-Victorian crime fiction which have given undue prominence to a handful of key figures and have offered an over-simplified analytical framework, thereby overlooking the generic, moral, and formal complexities of the nascent genre.
A collection of stories featuring detectives, criminal agents and debonair crooks from the golden age of crime fiction: a time when Sherlock Holmes was esconsced in his rooms at 221B Baker Street and London was permanently wreathed in a sinister fog.
Many of the 20th century’s most celebrated fictional sleuths appeared in Hollywood movie mystery series of the forties. This volume focuses on 19 series (146 films): The Saint, The Lone Wolf, Sherlock Holmes, The Shadow, Nick Carter, Michael Shayne, Ellery Queen, Boston Blackie, The Falcon, Mr. District Attorney, Wally Benton, Crime Doctor, The Whistler, Inner Sanctum, Dick Tracy, Philip Marlowe, Jack Packard and Doc Long, Steve Wilson and Lorelei Kilbourne and John J. Malone. For each series, there is an overview of the source material, the individual films, and the performers who acted in them. An overall review of each film is included, with a critique of the film’s quality and the cohesiveness of its plot. For movies based on written works, a comparison between the film and its literary original is offered.
In 1888 London was the capital of the most powerful empire the world had ever known, and the largest city in Europe. In the west a new city was growing, populated by the middle classes, the epitome of 'Victorian values'. Across the city the situation was very different. The East End of London had long been considered a nether world, a dark and dangerous region outside the symbolic 'walls' of the original City. Using the Whitechapel murders of Jack the Ripper as a focal point, this book explores prostitution, poverty, revolutionary politics, immigration, the creation of a criminal underclass and the development of policing. It also considers how the sensationalist 'new journalism' took the news of the Ripper murders to all corners of the Empire and to the United States. This is an important book for those interested in the history of Victorian Britain.