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The House at the End of the Moor by Michelle Griep Pdf
What Can a London Opera Star and an Escaped Dartmoor Prisoner Have in Common? Opera star Maggie Lee escapes her opulent lifestyle when threatened by a powerful politician who aims to ruin her life. She runs off to the wilds of the moors to live in anonymity. All that changes the day she discovers a half-dead man near her house. Escaped convict Oliver Ward is on the run to prove his innocence, until he gets hurt and is taken in by Maggie. He discovers some jewels in her possession—the very same jewels that got him convicted. Together they hatch a plan to return the jewels, clearing Oliver’s name and hopefully maintaining Maggie’s anonymity.
In this deeply personal journey across our nation's most forbidding and most mysterious terrain, William Atkins takes the reader from south to north, in search of the heart of this elusive landscape. His account is both travelogue and natural history, and an exploration of moorland's uniquely captivating position in our literature, history and psyche. Atkins may be a solitary wanderer across these vast expanses, but his journey is full of encounters, busy with the voices of the moors, past and present: murderers and monks, smugglers and priests, gamekeepers and ramblers, miners and poets, developers and environmentalists. As he travels, he shows us that the fierce landscapes we associate with Wuthering Heights and The Hound of the Baskervilles are far from being untouched wildernesses. Daunting and defiant, the moors echo with tales of a country and the people who live in it - a mighty, age-old landscape standing steadfast against the passage of time.
When Mary Russell is summoned by her partner and husband Sherlock Holmes to the scene of his most celebrated case, that of the Hound of the Baskervilles, there is more to the matter than a phantom hound. Sightings of a spectral coach carrying a long-dead noblewoman over the moonlit moor have heralded a corpse surrounded by oversized paw prints. As Russell and Holmes anticipate, a rational explanation lies beneath the supernatural events--but one far darker than they ever imagined. Martin's Press.
NATIONAL BESTSELLER • The Booker Prize-winning, bestselling author of Midnight's Children and The Satanic Verses combines a ferociously witty family saga with a surreally imagined and sometimes blasphemous chronicle of modern India and flavors the mixture with peppery soliloquies on art, ethnicity, religious fanaticism, and the terrifying power of love. “Fierce, phantasmagorical … a huge, sprawling, exuberant novel.” —The New York Times Moraes "Moor" Zogoiby, the last surviving scion of a dynasty of Cochinese spice merchants and crime lords, is also a compulsive storyteller and an exile. As he travels a route that takes him from India to Spain, he leaves behind a tale of mad passions and volcanic family hatreds, of titanic matriarchs and their mesmerized offspring, of premature deaths and curses that strike beyond the grave.
An “exquisite piece of historical fiction” (Winnipeg Free Press), The Moor’s Account is “brilliantly imagined fiction…rewritten to give us something that feels very like the truth” (Salman Rushdie). In 1527, the conquistador Pánfilo de Narváez left the port of San Lucar de Barrameda in Spain with a crew of more than five hundred men. His goal was to claim what is now the Gulf Coast of the United States for the Spanish crown and, in the process, become as wealthy and as famous as Hernán Cortés. But from the moment the Narváez expedition reached Florida it met with incredibly bad luck—storms, disease, starvation, hostile Indians. Within a year, there were only four survivors: the expedition’s treasurer, Cabeza de Vaca; a Spanish nobleman named Alonso del Castillo Maldonado; a young explorer by the name of Andrés Dorantes; and his Moroccan slave, Mustafa al-Zamori. The four survivors were forced to live as slaves to the Indians for six years, before fleeing and establishing themselves as faith healers. Together, they traveled on foot through present-day Florida, Texas, New Mexico, and Arizona, gathering thousands of disciples and followers along the way. In 1536, they crossed the Rio Grande into Mexican territory, where they stumbled on a group of Spanish slavers, who escorted them to the capital of the Spanish empire, México-Tenochtitlán. Three of the survivors were asked to provide testimony of their journey—Castillo, Dorantes, and Cabeza de Vaca, who later wrote a book about this adventure, called La Relacíon, or The Account. But because he was a slave, Estebanico was not asked to testify. His experience was considered irrelevant, or superfluous, or unreliable, or unworthy, despite the fact that he had acted as a scout, an interpreter, and a translator. This novel is his story.
Stephen Whalby loves to walk the moor. He considers it his, although he and his young wife Lyn are merely tenants in a flat nearby. But the senseless and frightening murder of a young woman invades Stephen's sense of privacy and pollutes his beloved moor with suspicion and dread. And then a second murder captures his imagination in an unpredictable and fascinating way . . .
Speaking of the Moor explores why the Moor became a central character on the English stage at the turn of the sixteenth century. Looking closely at key early modern dramatic and historical texts, the book uncovers the Moor's complex identity as a Mediterranean figure poised provocatively between European and non-European worlds.
The circus is in town... When a ten-year-old girl turns up on DCI Ryan's doorstep to tell him she's witnessed a murder, he has no idea he's about to step into his most spellbinding case yet. The circus has rolled into Newcastle upon Tyne, bringing with it a troupe of daring acrobats, magicians, jugglers--and one of them is a killer. Ryan and his team must break through their closed ranks to uncover a secret which has lain buried for eight years, before the killer strikes again--this time, to silence the only living witness... Murder and mystery are peppered with romance and humour in this fast-paced crime whodunnit set amidst the spectacular Northumbrian landscape. "LJ Ross keeps company with the best mystery writers" - The Times "A literary phenomenon" - Evening Chronicle
An “exquisite piece of historical fiction” (Winnipeg Free Press), The Moor’s Account is “brilliantly imagined fiction…rewritten to give us something that feels very like the truth” (Salman Rushdie). In 1527, the conquistador Pánfilo de Narváez left the port of San Lucar de Barrameda in Spain with a crew of more than five hundred men. His goal was to claim what is now the Gulf Coast of the United States for the Spanish crown and, in the process, become as wealthy and as famous as Hernán Cortés. But from the moment the Narváez expedition reached Florida it met with incredibly bad luck—storms, disease, starvation, hostile Indians. Within a year, there were only four survivors: the expedition’s treasurer, Cabeza de Vaca; a Spanish nobleman named Alonso del Castillo Maldonado; a young explorer by the name of Andrés Dorantes; and his Moroccan slave, Mustafa al-Zamori. The four survivors were forced to live as slaves to the Indians for six years, before fleeing and establishing themselves as faith healers. Together, they traveled on foot through present-day Florida, Texas, New Mexico, and Arizona, gathering thousands of disciples and followers along the way. In 1536, they crossed the Rio Grande into Mexican territory, where they stumbled on a group of Spanish slavers, who escorted them to the capital of the Spanish empire, México-Tenochtitlán. Three of the survivors were asked to provide testimony of their journey—Castillo, Dorantes, and Cabeza de Vaca, who later wrote a book about this adventure, called La Relacíon, or The Account. But because he was a slave, Estebanico was not asked to testify. His experience was considered irrelevant, or superfluous, or unreliable, or unworthy, despite the fact that he had acted as a scout, an interpreter, and a translator. This novel is his story.
This book reveals fundamental connections between nationalist violence, religious identity, and the origins of the novel in the early modern period. Through fresh interpretations of music, literature, and history it argues that the expulsion of the Muslim population created a historic and artistic aperture that was addressed in new literary forms.
When barrister Rex Graves invites a group of friends to Gleneagle Lodge, he doesn't anticipate the arrival of an old flame—much less a dead body or serial killer. Rex's houseguest and colleague Alistair, who recently made an unsuccessful attempt to convict a man for the notorious Moor Murders, now finds himself under the same roof as the killer. Rex must use his skills of intellect, observation, and logic to save Alistair's career and bring the murderer to justice. Praise: "Traditional mystery fans will appreciate the retro Agatha Christie style."—Publishers Weekly "A welcome diversion from today's style of writing...The writing is crisp and the story fast-paced. Challinor doesn't waste time on empty filler, but gets right to the topic at hand."—BellaOnline "C.S. Challinor delivers a racier cozy in Murder on the Moor...skillfully choreographed."—Washington Post "Contemporary in setting but classic in style and voice, it'll have you guessing to the very end. 4 stars." —RT Book Reviews