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The Art of Murder Series

Jecks Michael: The Piazza Murders / B

The Piazza Murders

Artist-turned-amateur sleuth Nick Morris is back, and this time he's swapped the English countryside for beautiful Italy. Only it's not long before another dead body (or two) lands in front of him! This witty mystery is perfect for fans of Anthony Horowitz. Artist Nick Morris is in picturesque Piacenza, Italy to teach at an art retreat. A delightful gig, if only his budding artists weren't so . . . dramatic! Between the heartbroken, dying and just plain cantankerous, Nick's got his work cut out. Especially with world renowned - and universally despised - author, Gregory Stone swanning about ruffling everyone's feathers. But all is not as it seems with the bestseller. And Nick's horrified when he finds the man dead in his hotel. Another mystery is the last thing Nick wants to get involved in, but having befriended Stone's attractive publicist, he wonders, did Stone's bullying, misogyny and blatant plagiarism finally to push someone too far? &gt;Nick Morris's keen observance of the people around him takes the reader on a journey, investigating several suspects. But which one has a true motive for murder . . .? Laced with Michael Jecks' signature wit, readers will enjoy this latest addition to The Art of Murder Series.

Landscape of Murder

Join accidental sleuth, Nick Morris, in his second mystery in The Art of Murder series. When an offer to paint a beautiful Georgian house in the Peak District falls into Nick Morris' lap he jumps at the commission. Businessman Derek Swann is selling up and wants a landscape to remember. But Nick's plans for a quiet stay in the countryside are scuppered when he and his chalet neighbour Megan Lamplighter find a body in the woods surrounding the holiday park. Rick Parrow seemed to be a troubled young adult, with a dark cloud following him around in recent days, so when it turns out he was murdered, Nick feels compelled to seek out the truth. What was bothering Rick in the days before his death? What exactly was his connection to the bear-like figure of Jez Cooper, who was staying in a chalet up from Nick? And who could possibly have wanted the boy dead? Nick's attention is pulled in every direction - from his work at the manor house, and its captivating housekeeper Adela - to the many unsavoury characters now circling the holiday park and paying a little too much attention to Nick's movements. Nick must act fast if he wants to get out of this in one piece!

Struggling artist, Nick Morris paints pet portraits to pay the bills but is always just one big commission away from the big time. Which is why he agrees to paint the reluctant, hot-tempered hotelier, Jason Robart. But when he finds Jason dead, and the hotelier's shady business associates come after Nick, he wishes he'd stuck to painting cats!

Struggling artist, Nick Morris paints pet portraits to pay the bills but is always just one big commission away from the big time. Which is why he agrees to paint the reluctant, hot-tempered hotelier, Jason Robart. But when he finds Jason dead, and the hotelier's shady business associates come after Nick, he wishes he'd stuck to painting cats!

Portrait of a Murder

The North Falls Series

Return to North Falls with another gripping thriller from the international No. 1 bestseller Karin Slaughter. Pre-order now for 2026

The New Novel

Polybius

'A dark, crazed reversal of Notting Hill'

I Make My Own Fun

October Files

How contemporary artist Glenn Ligon’s expansive body of work mines American history and literature to ask critical questions about modern culture. OCTOBER Files: Glenn Ligon (b. 1960) presents the first compilation of critical discourse on the multimedia work of one of the most influential American artists of the late twentieth and early twenty-first centuries. Often citing or annotating past literary (e.g., James Baldwin), artistic (e.g., Andy Warhol), and musical (e.g., Steve Reich) interventions, Ligon’s practice imaginatively explores the contradictions of speech, vision, authorship, identity, blackness and belonging in works that are at once historically resonant and materially sensuous. Spanning Ligon’s emergence in the postmodern multicultural milieu of New York in the late 1980s and early ‘90s, his starring turns at Documenta, the Venice Biennale, and other international exhibitions of the 2000–10s, and his formative impact on both new and canonical art histories, this volume provides a comprehensive accounting of the questions central to his work in painting, sculpture, video, installation, and print. With texts by writers from Wayne Koestenbaum to Rizvana Bradley, this File not only plumbs the depths of Ligon’s oeuvre, but also models the various approaches to critical writing that have defined art and culture of the past 30 years.

Glenn Ligon

The One Day You Were My Husband

Cristy Ward thriller

Don't miss the next captivating page-turner from Sunday Times bestseller Susan Lewis!A dead husband. A missing wife. Will they find her in time?Romy Kaplan has vanished from her home.Or has she?When Romy begins posting on her social media accounts asking everyone to stop looking for her, the police are certain she is safe. But Romy's nearest and dearest are far from convinced.Her husband died in the bath under inconclusive circumstances six weeks ago. And Romy would never disappear without telling someone where she is going.As true crime podcast host, Cristy Ward, picks up Romy's case... she has the whole world asking...Where is Romy now?

Never Look Back

A fascinating biography of the philanthropist Albert Barnes, whose pioneering collection of modern art was meant to transform America’s soulFrom prominent critic and biographer Blake Gopnik comes a compelling new portrait of America’s first great collector of modern art, Albert Coombs Barnes. Raised in a Philadelphia slum shortly after the Civil War, Barnes rose to earn a medical degree and then made a fortune from a pioneering antiseptic treatment for newborns. Never losing sight of the working-class neighbors of his youth, Barnes&nbsp;became a ruthless advocate for their rights and needs. His vast art collection—181 Renoirs, 69 Cézannes, 59 Matisses, 46 Picassos—was dedicated to enriching their cultural lives. A miner was more likely to get access than a mine owner.Gopnik’s meticulous research reveals Barnes as a fierce advocate for the egalitarian ideals of his era’s progressive movement. But while his friends in the movement worked to reshape American society, Barnes wanted to transform the nation’s aesthetic life, taking art out of the hands of the elite and making it available to the average American.The Maverick’s Museum&nbsp;offers a vivid picture of one of America’s great eccentrics. The sheer ferocity of Barnes’s democratic ambitions left him with more enemies than allies among people of all classes, but for a circle of intimates, he was a model of intelligence, generosity, and loyalty. In this compelling portrait, Gopnik reveals a life shaped by contradictions, one that left a lasting impact.

Albert Barnes and His American Dream

The Maverick's Museum

How a lifelong engagement with experimental art informed the brilliant Czech-Brazilian philosopher Vilém Flusser’s early vision of a world dominated by glowing screens. Predicting the importance of technology and images in the twenty-first century as early as the 1970s, Vilém Flusser warned, “the basic structure of our thinking is about to experience a mutation.” The bewitching images and screens that surround us could lead toward a centrally programmed, totalitarian society—or another, better one characterized by dialogue and collaboration among humans and new forms of intelligence. In this book on the idiosyncratic and prescient Czech-Brazilian philosopher, art historian and critic Martha Schwendener explores the profound effect of art on Flusser’s thought. The Society of the Screen reveals how Flusser’s lifelong engagement with experimental practices—from abstract painting and concrete poetry in Brazil to video, cybernetics, and photography in Europe and the United States—as well as his extensive involvement with the São Paulo Biennial informed his belief that we were moving from “history”—a civilization informed by linear writing—into “post-history,” dominated by technical images. The book delves deeply into how Flusser’s ideas evolved, particularly in correspondence and collaboration with artists like Mira Schendel, Fred Forest, Wen-Ying Tsai, Harun Farocki, Louis Bec, and Karl Gerstner.

How a lifelong engagement with experimental art informed the brilliant Czech-Brazilian philosopher Vilém Flusser’s early vision of a world dominated by glowing screens. Predicting the importance of technology and images in the twenty-first century as early as the 1970s, Vilém Flusser warned, “the basic structure of our thinking is about to experience a mutation.” The bewitching images and screens that surround us could lead toward a centrally programmed, totalitarian society—or another, better one characterized by dialogue and collaboration among humans and new forms of intelligence. In this book on the idiosyncratic and prescient Czech-Brazilian philosopher, art historian and critic Martha Schwendener explores the profound effect of art on Flusser’s thought. The Society of the Screen reveals how Flusser’s lifelong engagement with experimental practices—from abstract painting and concrete poetry in Brazil to video, cybernetics, and photography in Europe and the United States—as well as his extensive involvement with the São Paulo Biennial informed his belief that we were moving from “history”—a civilization informed by linear writing—into “post-history,” dominated by technical images. The book delves deeply into how Flusser’s ideas evolved, particularly in correspondence and collaboration with artists like Mira Schendel, Fred Forest, Wen-Ying Tsai, Harun Farocki, Louis Bec, and Karl Gerstner.

The Piazza Murders

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