Böcker av Julia Lacey Brooke

British journalist Hilary Blyth famously liked a drop or two as well as a midnight dip, and when his body was fished out of the sea near the infamous Denti dei Cani Rocks, the verdict was accidental death. His widow disagreed, but she went a little crazy after her husband's death and everyone was highly relieved when she returned to England...A year later, three people converge on a secluded Italian coastal idyll. None of them is on holiday: the Hon. Veronica Dearborn (previously encountered in The Mischief-Maker) has refused to sell the film rights of her notorious memoir, and escapes London and her unscrupulous agent on a commission to interview J. Cadwallader Jones, the eccentric widower of a famous mystery novelist. Her old friend, food-writer Freddy Partridge, is on a working vacation, and hoping his Uncle Cadwallader is not spending all his inheritance. Julian Blyth, an injured orchestral violinist, has come to settle the estate of his late brother.Welcomed and feted at first by the tight-knit ex-pat community, the three visitors quickly realise they have stepped on a nest of vipers, and Julian begins to have doubts that his brother's death was the accident it seemed.A sophisticated satire, Circled By The Sands displays the ex-pat middle-classes at their hilariously appalling worst. Monte Farfalla is home to a community with little in common apart from its mother-tongue, driven by competition, jealousy, gossip, greed and bickering. When faced with threat from outside, however, they close ranks...

A swooping, evocative tale spanning nearly fifty years, The Mischief-Maker is a story of ambition, hubris and retribution. From the sixties to the present, from England and Ireland to Italy and the United States, we follow the lives of a diverse group of people whose fates are inextricably caught up, whether they know it or not. No-one - not the government minister, the cabaret artist, the television personality, the forgotten pop star or the academic's widow - is immune from a certain malign influence. Secrets long hidden come back to destroy them. Someone who remembers all too well has known them all. The Mischief-Maker is a subtle, noirish tragicomedy, one which sweeps the reader along and creates an intense interest in what happens next, and to whom, and why. JULIA LACEY BROOKE read English Literature and Renaissance History at the University of East Anglia, later taking an MLitt at the University of Birmingham's Shakespeare Institute in Stratford-upon-Avon. Now based in rural Tuscany, she is a freelance editor, teacher and lecturer. Her The Stoic, the Weal & the Malcontent, a fascinating study of the malcontent on the Elizabethan and Jacobean stage, was published by Tiger of the Stripe in 2013.

Enter the Malcontent... a misfit, an outcast, a 'strayer from the drove', one who laughs at the follies of others from a distance, like Jacques, or who snarls and rails acerbically like Thersites or Timon. Sometimes, like Iago, he has murder in his heart. He might be an alienated intellectual, like Bosola or Flamineo, with an education he cannot use, or a cynical adventurer like Bussy, or a revenger, like Vindice, out to right wrongs; a bastard like Edmund; a Jew like Barabas; an outcast, a social climber, a man with a deformity, a man passed over for office, a professional clown with ambitions, a professional soldier with a grudge, a Prince with an impossible mission, even a usurping king determined to 'prove a villain'... The Malcontent comes in various garbs and guises, sometimes glowering and dressed in black, and sometimes not. But his kind is legion, his intelligence rare, and he figures on the English stage at a uniquely innovative point in its history. The Jacobean stage Malcontent had his immediate antecedents in real life. He also had a dramatic ancestry in the medieval Vice and the Fool. His anarchic hey-day began in the late 1580s and was effectively over by the mid 1620s, but this brief period produced some of the most influential dramatists the Anglophone world has known, stage-writers of brilliance who were engaged in re-working Roman and Greek Classicism, and incorporating and adapting English medieval staples and histories in modern works which revolutionised stage business and stage language. By the time a play called The Malcontent by John Marston appeared in 1604, it was satirising a familiar phenomenon: not only of a stage figure, but of a whole tranche of plays and theatre-writing distinctly malcontented in tone and matter. Written and performed in a time of new intellectual inquiry and a spirit of scepticism regarding the old fixtures of Man's place in the World and the political and religious structures that underpinned it - a time of social flux, of discovery of new worlds, of war, spying, bitter religious faction, and political and economic uncertainty - these works were presenting a diverse public audience with the exciting and possibly terrifying spectacle of this fixture's actual fragility, and the capacity of Man to challenge his destiny. The author's remarkably perceptive The Stoic, the Weal and the Malcontent sheds new light on the the development and relevance of the Malcontent in Elizabethan and Jacobean drama.   Julia Lacey Brooke read English Literature and Renaissance History at the University of East Anglia, later taking an MLitt at the University of Birmingham's Shakespeare Institute in Stratford-upon-Avon. Now based in rural Tuscany, she is a freelance editor, teacher and lecturer, and writes satirical fiction.