Search results for ""Author Caroline"

With Meg Cabot’s signature “dazzling,” (Romantic Times Book Review) prose, this Victorian romance follows a young woman looking for lessons in love.Lady Caroline Linford is horrified to discover her fiancé, the Marquis of Winchilsea, in the arms of another woman. Unfortunately, for the rest of Victorian society, this sort of extracurricular activity is par for the course for most men and certainly not reason enough cancel the upcoming wedding. But Caroline is determined to make sure that the man she is to marry will desire only her, so she enlists the best teacher in the art of romance: London’s most notorious rake, Braden Granville. As their passionate tutelage begins, sparks fly and the lines between teacher and student get increasingly blurred. Now there is just one last lesson to learn: on the subject of true love, the heart chooses its own unpredictable ways.

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Caroline Bachmann is one of Switzerland’s foremost contemporary artists. Alongside her independent work in painting and drawing, she has also formed one half of the artist duo Bachmann Banz, together with Stefan Banz, since 2004. Together, the two founded the Kunsthalle Marcel Duchamp — The Forestay Museum of Art in Cully, Switzerland, in 2009. In 2013, Bachmann reinvented herself as an artist and turned to classical themes of painting. She engages deeply with the genres of portraiture, still life, and history painting and takes up existential questions of the metaphysical and the sacred, creating compositions that strive not for a materialistic grasp of reality, but for a depiction of the spiritual dimension of existence. This first comprehensive and richly illustrated monograph traces Caroline Bachmann’s extraordinary journey through the medium of painting. Essays by renowned experts on Bachmann's work and on contemporary Swiss art, as well as a conversation with the artist, reveal a creative self-discovery that is shaped by the ideals of artistic idols such as Marcel Duchamp, Louis Michel Eilshemius, and Arthur Dove, and set in motion by the courage to reinvent herself through subject, technique, and material. Text in English and French.

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1963. In quiet Lake Charles, Louisiana, the destruction of a Confederate statue might just signal that change is in the air... But, whatever the progress of the civil rights movement, in the Gellman household things seem just the same - for now at least. Eight year old Noah, heartbroken by the death of his mother and his father's remarriage, sneaks down to the basement to spend time with the black maid he idolises, Caroline Thibodeaux: Caroline who runs everything. Whilst the basement may seem a fantastical place - even the appliances have a voice of their own - Caroline's work there is repetitive and badly paid. But when Mrs Gellman comes up with a way for her to take a little more money home, the consequences for Caroline and Noah's relationship are not what anybody might have expected... An Olivier Award winning musical with a hugely original, highly eclectic and uniquely American score, Caroline, or Change creates an uplifting and profound portrait of America at a time of momentous social upheaval.

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Caroline Broadhead (b. 1950) is a highly versatile artist who started in jewellery in the late 1970s. Since then she has extended her practice from "wearable objects" and textile works to dance collaborations and installations in historic buildings. Broadhead's work is concerned with the boundaries of an individual and the interface of inside and outside, public and private, including a sense of territory and personal space, presence and absence and a balance between substance and image. It has explored outer extents of the body as seen through light, shadows, reflections and movement. Published to accompany the Exhibition at CODA Museum Apeldoorn (NL), 4 February - 15 April 2018 and the Exhibition at Lethaby Gallery, Central Saint Martins, London, 11 January - 2 February 2019.

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Scotland-born, London-based artist Caroline Walker is celebrated for her paintings exploring the lives of women, from those living luxury lifestyles to those fleeing oppression. In this publication, which was produced to accompany Walker’s first exhibition with Ingleby Gallery, Edinburgh, in autumn 2020, the artist turns her attention closer to home, presenting a series of paintings in which the focus is the artist’s own mother, Janet, as she goes about her daily tasks: cooking, cleaning, tidying and tending the garden of the Fife home where the artist spent her childhood.The publication features a newly commissioned essay and an interview with the artist by critic and author Hettie Judah. The essay opens by comparing Walker’s works to the Dutch Golden Age, encouraging consideration of everyday domestic scenes. Judah then leads the reader through Walker’s latest series of works, exploring the daily routines and household chores that have filled Walker’s mother’s days for the past forty years, along with the artist’s treatment of these activities. Judah deftly locates this latest body of work within Walker’s wider practice, opening up discussion of women at work in different industries and notions of invisibility. She asserts: ‘While "Janet" extends Walker’s long-held interest in women’s work, the series is also a loving undertaking. The artist offers us her mother with great pride, both in particular, and on behalf of other mothers overlooked and working out of sight.’ The interview offers further insight into Walker’s thoughts in relation to the "Janet" series, and to the working processes behind it.The publication features around eighty illustrations of the preparatory studies and paintings that comprise this new body of work. It has been designed by Joanna Deans, Identity, with photography by Peter Mallet. The publication was produced by Ingleby, Edinburgh, and printed by Die Keure, Bruges. It was co-published in 2020 by Ingleby and Anomie Publishing, London, in an edition of 1500 copies.Caroline Walker was born in Dunfermline, Scotland, in 1982. She attended Glasgow School of Art from 2000-04, before completing her MA at the Royal College of Art in 2009. Recent and forthcoming exhibitions include Kettle’s Yard, Cambridge, the Midlands Arts Centre (MAC), Birmingham, and participation in the ninth edition of the British Art Show. She is represented in a number of public collections including the National Museum of Wales, Cardiff, the UK Government Art Collection, London, Kistefos Museum, Jevnaker, Norway, and Museum Voorlinden & Kunstmuseum den Haag, in the Netherlands.Hettie Judah is chief art critic of the British daily newspaper The i, a regular contributor to The Guardian, The New York Times, Frieze, Art Quarterly, Numéro Art and The Art Newspaper, and a contributing editor to The Plant. Recent publications include a short biography of Frida Kahlo (Laurence King, 2020) and Art London (ACC Art Books, 2019).

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From the outset, Caroline Lamb had a rebellious nature. From childhood she grew increasingly troublesome, experimenting with sedatives like laudanum, and she had a special governess to control her. She also had a merciless wit and talent for mimicry. She spoke French and German fluently, knew Greek and Latin, and sketched impressive portraits. As the niece of Georgiana, Duchess of Devonshire, she was already well connected, and her courtly skills resulted in her marriage to the Hon. William Lamb (later Lord Melbourne) at the age on nineteen. For a few years they enjoyed a happy marriage, despite Lamb''s siblings and mother-in-law detesting her and referring to her as ''the little beast''. In 1812 Caroline embarked on a well-publicised affair with the poet Lord Byron - he was 24, she 26. Her phrase ''mad, bad and dangerous to know'' became his lasting epitaph. When he broke things off, Caroline made increasingly public attempts to reunite. Her obsession came to define much o

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USA Today Bestseller!One of Refinery29's Best Reads of SeptemberIn this novel authorized by the Little House Heritage Trust, Sarah Miller vividly recreates the beauty, hardship, and joys of the frontier in a dazzling work of historical fiction, a captivating story that illuminates one courageous, resilient, and loving pioneer woman as never before—Caroline Ingalls, "Ma" in Laura Ingalls Wilder’s beloved Little House books.In the frigid days of February, 1870, Caroline Ingalls and her family leave the familiar comforts of the Big Woods of Wisconsin and the warm bosom of her family, for a new life in Kansas Indian Territory. Packing what they can carry in their wagon, Caroline, her husband Charles, and their little girls, Mary and Laura, head west to settle in a beautiful, unpredictable land full of promise and peril.The pioneer life is a hard one, especially for a pregnant woman with no friends or kin to turn to for comfort or help. The burden of work must be shouldered alone, sickness tended without the aid of doctors, and babies birthed without the accustomed hands of mothers or sisters. But Caroline’s new world is also full of tender joys. In adapting to this strange new place and transforming a rough log house built by Charles’ hands into a home, Caroline must draw on untapped wells of strength she does not know she possesses.For more than eighty years, generations of readers have been enchanted by the adventures of the American frontier’s most famous child, Laura Ingalls Wilder, in the Little House books. Now, that familiar story is retold in this captivating tale of family, fidelity, hardship, love, and survival that vividly reimagines our past.

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At a weekend house-party at ancient Canonbury Manor, Alli is caught between fantasy and reality, past and present, in the life of Caroline Rand, a famous singer from the late Sixties, who reportedly killed herself in that house. Alli soon learns that evil infests the once-holy building. A sinister cabal controls it, as it has for centuries. Before long, her fate will be sealed, and she will learn about her role in the after-death of Caroline Rand. It begins with a chilling greeting: "Welcome to The Columbine, Miss Sinclair. You are expected."

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Caroline of Brunswick, wife of George Prince of Wales and Prince Regent, and her daughter, Princess Charlotte, lived out their lives surrounded by a cast of characters who might have been lifted straight from the pages of some Gothic novel. Theirs was a saga of passion and pathos, tragedy and black comedy, feuding and fighting - all set in Regency England against a backdrop of Europe in turmoil. The marriage of the Prince of Wales - renowned for his intemperance, hedonism and plain ordinary selfishness - to his cousin Caroline of Brunswick in 1795 was a preordained disaster. The groom is said to have called for brandy when he first laid eyes on the bride, while the bride was later to swear that the groom spent most of their wedding night lying in the grate in a drunken stupor. Brought together for reasons of financial and dynastic expediencey, the couple split up within a year of the birth of their daughter, Charlotte Augusta in 1796. The colourful story of these two fiercely dependent and ultimately tragic women is brilliantly told by Alison Plowden, tapping into a wealth of contemporary correspondence, journals, memoirs and contemporary press reportage. 'Caroline & Charlotte' constitutes a real-life Regency romance which makes gripping and poignant reading.

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Caroline Flack was the girl who had it all ... beauty, talent, money, fame and a hugely successful TV career. But away from the cameras and the fabulous parties, there hid a lonely, frightened young woman. Caroline was already a rising star when she shot to fame as the presenter of ITV’s Love Island. With her beauty and her effervescent personality, she was perfect for the role and soon the show was drawing six million viewers. Yet, behind the scenes her private life was chaotic. She dated Prince Harry, Harry Styles and Russell Brand before finding love with former professional tennis player Lewis Burton. Her world came crashing down the night Lewis called 999 to report that Caroline was attacking him. Police found Caroline hysterical and the couple covered in blood. Just as it seemed life could not get any worse, Caroline was fired by ITV and barred by the courts from contacting Lewis. In this extraordinary and revealing book, Emily Herbert talks with friends and celebrities to reveal the heartbreaking true story of how this beautiful woman crashed from the pinnacle of fame and success to a lonely and tragic death. A donation from the sale of this book will be given to support the work of cyber bullying charities.

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At a weekend house-party at ancient Canonbury Manor, Alli is caught between fantasy and reality, past and present, in the life of Caroline Rand, a famous singer from the late Sixties, who reportedly killed herself in that house. Alli soon learns that evil infests the once-holy building. A sinister cabal controls it, as it has for centuries. Before long, her fate will be sealed, and she will learn about her role in the after-death of Caroline Rand. It begins with a chilling greeting: "Welcome to The Columbine, Miss Sinclair. You are expected."

Read more less

At a weekend house-party at ancient Canonbury Manor, Alli is caught between fantasy and reality, past and present, in the life of Caroline Rand, a famous singer from the late Sixties, who reportedly killed herself in that house. Alli soon learns that evil infests the once-holy building. A sinister cabal controls it, as it has for centuries. Before long, her fate will be sealed, and she will learn about her role in the after-death of Caroline Rand. It begins with a chilling greeting: "Welcome to The Columbine, Miss Sinclair. You are expected."

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From the outset, Caroline Lamb had a rebellious nature. From childhood she grew increasingly troublesome, experimenting with sedatives like laudanum, and she had a special governess to control her. She also had a merciless wit and talent for mimicry. She spoke French and German fluently, knew Greek and Latin, and sketched impressive portraits. As the niece of Georgiana, Duchess of Devonshire, she was already well connected, and her courtly skills resulted in her marriage to the Hon. William Lamb (later Lord Melbourne) at the age on nineteen. For a few years they enjoyed a happy marriage, despite Lamb's siblings and mother-in-law detesting her and referring to her as 'the little beast'. In 1812 Caroline embarked on a well-publicised affair with the poet Lord Byron - he was 24, she 26. Her phrase 'mad, bad and dangerous to know' became his lasting epitaph. When he broke things off, Caroline made increasingly public attempts to reunite. Her obsession came to define much of her later life, as well as influencing her own writing - most notably the Gothic novel Glenarvon - and Byron's. Antonia Fraser's vividly compelling biography animates the life of 'a free spirit' who was far more than mad, bad and dangerous to know.

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Born to a mother who doesn't want her, Caroline lives in a world that doesn't understand her and she's fuelled by anger and hatred. She dreams of a different life. To survive the one she's been given, Caroline channels that anger and hatred, and behind her fragile, beautiful exterior hides a woman who will do anything to get what she wants.Together with girlfriend Leoni, she takes from those who often deserve no better, blackmailing, stealing and killing, comfortable at last in her own skin, living her own uncompromising way. But the world she has chosen to inhabitis a dangerous one, and not even Caroline is infallible. When a blackmail attempt goes wrong, her life is in danger. Has she gone too far this time?WHAT CAN A WOMAN DO WHEN STEALING AND KILLING ARE HER BEST OPTIONS?

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"Miss Caroline Charles, aged 22 - youngest of the English designers whose fashions have captured New York - returns there to show her Spring collection. She is dark, beautiful and frail, with a small voice. But she is deceptive; she is made of iron; her energy is matched only by her persistence. Nothing will stop her. She is at the top now, and might stay there for 50 years." John Gale, Observer Oct 25th 1964 Caroline Charles is one of London's most respected womenswear designers. She has developed her business over the past five decades and the label is sold and marketed throughout the world. Caroline Charles began in the world of fashion art school followed by a couture apprenticeship and a stint as a photographer's assistant; she then worked for Mary Quant and was inspired by couturiers as well as being a leading designer in the '60s youthquake and swinging London. Her first collections were kooky and fresh and included a white cotton dress made from a bedspread! Caroline Charles was one of the original designers to join what was later to become British Fashion Week. Caroline opened a shop in Beverly Hills in the '70s and in the '90s had many successes with shops and shows in Japan. Her clothes were quickly snapped up by celebrities, which over the years have ranged from Lulu, Marianne Faithfull and Cilla Black as well as special suits being made for Mick Jagger and Ringo Starr. Princess Diana became a regular client as did Emma Thompson who wore a Caroline Charles design to receive an Oscar. Caroline Charles has been invited over the years to be a design consultant to major brands such as Burberry and Marks and Spencer as well as having design collaborations with major accessories and textile companies. In the '90s Caroline Charles designed the official scarf to mark the 40th anniversary of the accession of the Queen. As she celebrated her own 40th anniversary, Caroline Charles was awarded an OBE for services to the British Fashion Industry. Celebrations followed at the Victoria & Albert Museum with another award from the British Fashion Council. Book contributors include: Alexandra Shulman - Editor British Vogue, Suzy Menkes - Fashion Editor International Herald Tribune, Harold Tillman CBE - Chairman of the British Fashion Council, Caroline Baker - Fashion Director, Bruce Oldfield - Designer, Sue Crewe - Editor of House & Garden, Jess Cartner-Morley - Fashion Editor The Guardian and Richard Knight - Christies, London, among others.

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The most useless and obnoxious thing in the world to Caroline Tate is her older brother, J.P., the genius with the photographic memory. But now, for the first time, she needs him. She needs him because upstairs in the fifth floor apartment of their building is a mystery man who plans to commit a terrible crime-and she and J.P. are the targets! Luckily, Caroline's best friend, Stacy, wants to be an investigative journalist, so she knows how to gather evidence. Together, Caroline, Stacy, and J.P. set out to catch this criminal red handed before he can pull off his dastardly deed!

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Im frühen 19. Jahrhundert gab es sicherlich keine andere Frau, die den künstlerischen Werdegang bedeutender Maler und Bildhauer so aufmerksam beobachtet, materiell und produktiv gefördert hat wie Caroline von Humboldt (1766–1829). Ihre unstillbare Neugier auf jüngste Entwicklungen in der Kunst, ihre unbegrenzte Bereitschaft, bisher unentdeckte Talente durch Atelierbesuche und Ankäufe zu unterstützen, ihre qualitätsbewusste Kennerschaft haben sie als eine der wichtigsten Mäzeninnen ihrer Zeit in die Geschichte eingehen lassen. Die Gattin Wilhelm von Humboldts besaß enormen Einfluss auf die zeitgenössische deutsche Kunst, indem sie zwischen Künstlern des Klassizismus wie Thorvaldsen, Rauch, Koch und Schick sowie den jungen Protagonisten der romantischen Schule geschickt vermittelte. Wie Caroline von Humboldt an ihren Wohnsitzen in Paris, Rom und vor allem im Berliner Schloss Tegel den gesellschaftlichen Austausch begünstigte, wie sie in der persönlichen Korrespondenz die Besonderheiten von Kunstwerken und Strömungen pointiert erfasste und dadurch die Kulturlandschaft prägte, zeichnet das hochwertige und bibliophil gestaltete Bändchen in Wort und Bild nach.

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Caroline Vaughan’s photographs offer inspired and surprising visions of landscapes, still lifes, and the human form. In Borrowed Time, her images of nature and people, sometimes surreal and often arresting, follow each other to create a visual poem of opposition and likeness, physical beauty and balance. Compelling the viewer’s attention with delicate rich tones and meticulous technique, she holds the viewer’s gaze even when her subject is difficult. Most highly acclaimed for her psychologically complex but subtle portraits of family, friends, loved ones, and strangers, Vaughan’s work, though widely published and displayed, is collected here for the first time.

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Discoverers of the Universe tells the gripping story of William Herschel, the brilliant, fiercely ambitious, emotionally complex musician and composer who became court astronomer to Britain's King George III, and of William's sister, Caroline, who assisted him in his observations of the night sky and became an accomplished astronomer in her own right. Together, they transformed our view of the universe from the unchanging, mechanical creation of Newton's clockmaker god to the ever-evolving, incredibly dynamic cosmos that it truly is. William was in his forties when his amateur observations using a homemade telescope led to his discovery of Uranus, and an invitation to King George's court. He coined the term "asteroid," discovered infrared radiation, was the first to realize that our solar system is moving through space, discovered 2,500 nebulae that form the basis of the catalog astronomers use today, and was unrivalled as a telescope builder. Caroline shared William's passion for astronomy, recording his observations during night watches and organizing his papers for publication. She was the first salaried woman astronomer in history, a pioneer who herself discovered nine comets and became a role model for women in the sciences. Written by the world's premier expert on the Herschels, Discoverers of the Universe traces William and Caroline's many extraordinary contributions to astronomy, shedding new light on their productive but complicated relationship, and setting their scientific achievements in the context of their personal struggles, larger-than-life ambitions, bitter disappointments, and astonishing triumphs.

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In a career that spanned half a century, Caroline Durieux, a master lithographer, created prints that chronicled the beauty and absurdity of academia, New Orleans's famed Carnival season, characters observed from everyday life, and more. Caroline Durieux: Lithographs of the Thirties and Forties brings together fifty-eight images that reveal her keen understanding of both the comic and tragic aspects of satire. These remarkable works, with accompanying text by art historian Richard Cox, establish her place within the tradition of American satirical art. A new foreword by art historian Sally Main and archivist Susan Tucker considers Durieux's life and influence from her main periods of activity through the present day.Born in New Orleans in 1896, Durieux spent several years with her husband in Cuba before the two settled in Mexico City for a decade, and Latin American settings inspired some of her earliest forays into lithography. Her time in Mexico also brought her into contact with Diego Rivera, whose enthusiasm for her work brought her national and international attention. When Durieux returned to the United States in 1936, she taught art classes and held several positions with the Works Progress Administration (WPA), where she championed local artists and oversaw the creation of an index of Louisiana art and numerous public art projects. The prints collected in this volume showcase the artist's humor as well as her keen eye for the scenes and people she encountered in Louisiana and abroad.Originally published in 1977 and long unavailable, Caroline Durieux: Lithographs of the Thirties and Forties finally returns to print.

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Caroline M. Barron is the world's leading authority on the history of medieval London. For half a century she has investigated London's role as medieval England's political, cultural, and commercial capital, together with the urban landscape and the social, occupational, and religious cultures that shaped the lives of its inhabitants. This collection of eighteen papers focuses on four themes: crown and city; parish, church, and religious culture; the people of medieval London; and the city's intellectual and cultural world. They represent essential reading on the history of one of the world's greatest cities by its foremost scholar.

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Caroline Gardner's best-selling designs are showcased in this Botanical Blooms A5 diary for 2025. The diary offers plenty of space to organise your year in the week-per-page format. This diary is free of plastic packaging.

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Since the mid-1990s, Annette and Caroline Kierulf have practiced what they themselves call “woodcut as cultural critique”. Drawing on the medium's rich history as a means of communication and protest, the Norwegian artists strive to revive woodcut as a discursive tool. With subtle humor, the sisters use the visual reductiveness of the low-tech medium to critically reflect on the social, economic, and cultural changes shaping our high-tech societies. Incorporating references to pop culture and folk art, Caroline Kierulf's work explores the often overlooked aspects of everyday life, Annette Kierulf focuses on a feminist reinterpretation of the landscape genre. The publication provides insights into the artists' production and working methods, as well as their longstanding collaboration.

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Featuring Caroline Gardner's fun Dogs designs, this family organiser wall calendar for 2025 has plenty of room for everyone's schedule. Each month has 5 columns so the whole family can plan their year. This calendar is free of plastic packaging.

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Chronicling as it does the breakdown of George IV's marriage to his loathed cousin Caroline, and his futile attempt to divorce her and deprive her of her royal rights and status, A Queen on Trial throws up fascinating parallels with Diana and Charles' acrimonious separation and comes as a timely reminder of the cyclical, repetitive nature of history.

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Featuring Caroline Gardner's ever popular 'Hearts' design, this family organiser wall calendar for 2025 has plenty of room for everyone's schedule. Each month has 5 columns so the whole family can plan their year.

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This book is the first comprehensive chronological study of the works of a significant but little-known figure in early American history. A confidant of Thomas Jefferson, John Taylor of Caroline County, Virginia (1735-1824) represented the anti-Federalist position during the Constitutional debates and wrote extensively on government, economics, slavery, and liberty in each republic. Taylor's ideology blends Lockean liberal and Classical Republican ideas. This study fills an important gap in our understanding of early American political thought. This results in a surprising discovery that redefines the current scholarly debate on early American political thought. It finds that John Taylor reconciles Lockean liberalism and Classical Republicanism in ways that challenge the belief that liberalism's basis in natural rights, individualism, limited, impartial government, and laissez fair economics is incompatible with republican concern for civic virtue, corruption, patronage, public credit, stock companies, centralized government, and standing armies. Taylor's writings provide a revealing perspective on American government that clears away much of the confusion of recent scholarship and offers a view of the Constitution that will be startling to many twentieth-century minds. Ironically, the Classical Republican paradigm which resurrects John Taylor, is seriously challenged by his theories, and yet is responsible for rescuing him from the opprobrium of being the premier "states' rights" philosopher. Taylor's conception of government is based on the Lockean view that people are free, equal, and independent individuals who possess natural rights and should have the moral liberty to choose any form of government that suits them, without obligation to hereditary rulers or established social classes. Taylor acknowledges distinctions based only on individual merit: talents, education, and industry. Progress would occur as human reason improved and, therefore, government should be kept in close touch with its consti

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“This girl is a real novelist,” wrote Caroline Gordon about Flannery O’Connor upon being asked to review a manuscript of O’Connor’s first novel, Wise Blood. “She is already a rare phenomenon: a Catholic novelist with a real dramatic sense, one who relies more on her technique than her piety.”This collection of letters and other documents offers the most complete portrait of the relationship between two of the American South’s most acclaimed twentieth-century writers: Flannery O’Connor and Caroline Gordon. Gordon (1895–1981) had herself been a protégée of an important novelist, Ford Madox Ford, before publishing nine novels and three short story collections of her own, most notably, The Forest of the South and Old Red and Other Stories, and she would offer insights and friendship to O’Connor during almost all of O’Connor’s career.As revealed in this collection of correspondence, Gordon’s thirteen-year friendship with O’Connor (1925–64) and the critiques of O’Connor’s fiction that she wrote during this time not only fostered each writer’s career but occasioned a remarkable series of letters full of insights about the craft of writing. Gordon, a more established writer at the start of their correspondence, acted as a mentor to the younger O’Connor and their letters reveal Gordon’s strong hand in shaping some of O’Connor’s most acclaimed work, including Wise Blood, “A Good Man Is Hard to Find,” and “The Displaced Person.”

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The first book in the brilliant William Dougal crime series, from the bestselling author of The American Boy and The Ashes of London. William Dougal, a post-graduate expert in the medieval script of Caroline Minuscule, stumbles on the garroted corpse of his tutor - and finds himself embroiled in a hunt for a cache of diamonds, a deadly fairy story in which no one obeys the rules, least of all Dougal's girlfriend Amanda. As the body count rises, the couple pursue both the diamonds and their doom from London, to an East Anglian cathedral close, from Cambridge to a wintry Suffolk estuary.

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