The plot involves a young woman in a bathtub and a case of mistaken identity.

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    Eddie Carbone is a Brooklyn longshoreman, a hard-working man whose life has been soothingly predictable. He hasn't counted on the arrival of two of his wife's relatives, illegal immigrants from Italy; nor has he recognized his true feelings for his beautiful niece, Catherine. And in due course, what Eddie doesn't know?about her, about life, about his own heart?will have devastating consequences.

    And when Lady Peculiar’s butler – a part-time comedian – is found drowned in his own mango chutney, Detective Inspector Clinton Trump comes blundering onto the scene – ready to shun logic, breach protocol and trust in his own gut instincts. What will South East England’s greatest detective uncover? Is her ladyship a murderess? Was the killer a comedy rival? Or are darker forces at work in this particular corner of Brokenshire? Join our self-proclaimed British detective genius, as he races against time to solve this very funny murder mystery – so he can play golf at the weekend! The first novel in the ‘Clinton Trump Detective Genius’ series This riotous English detective spoof is murderously good fun from first page to last, as Inspector Trump and his unwanted sidekick, Constable Dinkel, encounter a procession of crazy comedy characters in the Great British countryside. Stuffed solid with British humour (or ‘humor’, if you’re one of the many American tourists who visit Upper Goosing), its mix of black comedy, British farce, funny one-liners and downright silliness is guaranteed to generate tremendous titters across the very civilised world.More amateur sleuth than professional investigator, Clinton Trump will bring a smile to your face like no other Trump has before, or probably ever will. So, jump aboard the Trump detection train, blow your Clinton trumpet and join the movement – Make Murder-Mystery Great Again! A Word from Detective Inspector Clinton Trump: “Greetings from Upper Goosing – the murder capital of Europe. You’ll find the scenery, tea rooms and cake shops are well worth the risk of a premature, grisly death. But before purchasing this novel, please note that it only employs British English, as spoken by Her Majesty the Queen. I don’t want anyone griping about me saying ‘per cent’ instead of ‘percent’, ‘metre’ instead of ‘meter’ or ‘tea’ instead of ‘coffee’. If you must grumble, please do as the English do and complain only to yourself. And if you’re planning on enjoying a cup of Earl Grey with this quality e-book, please remember: it’s tea first, milk second. Finally, don’t be afraid to laugh thunderously when reading this novel. Just don’t laugh yourself to death – we have enough fatalities around here as it is. Thank you.”

    In the earlier play Ostrovsky had adopted a satiric tone that proved him a worthy disciple of Gogol, the great founder of Russian realism. Not one lovable character appears in that gloomy picture of merchant life in Moscow; even the old mother repels us by her stupidity more than she attracts us by her kindliness. No ray of light penetrates the "realm of darkness" -- to borrow a famous phrase from a Russian critic -- conjured up before us by the young dramatist. In Poverty Is No Crime we see the other side of the medal. Ostrovsky had now been affected by the Slavophile school of writers and thinkers, who found in the traditions of Russian society treasures of kindliness and love that they contrasted with the superficial glitter of Western civilization. Life in Russia is varied as elsewhere, and Ostrovsky could change his tone without doing violence to realistic truth. The tradesmen had not wholly lost the patriarchal charm of their peasant fathers. A poor apprentice is the hero of Poverty Is No Crime, and a wealthy manufacturer the villain of the piece. Good-heartedness is the touchstone by which Ostrovsky tries character, and this may be hidden beneath even a drunken and degraded exterior. The scapegrace, Lyubim Tortsov, has a sound Russian soul, and at the end of the play rouses his hard, grasping brother, who has been infatuated by a passion for aping foreign fashions, to his native Russian worth. Alexander Ostrovsky (1823-1886) was an early Russian Realist whose work led to the founding of the Moscow Arts Theatre and to the career of Stanislavsky. He has been acknowledged to be the greatest of the Russian dramatists.

    He can remember nothing about a mysterious moment that occurred in the family's potting shed when he was 14-years-old. Family members who recall the event are unwilling to describe it to him. With the help of a psychoanalyst, James tries to recall just what happened that day that left him rejected by his father, alienated from his family, and alone in the world.

    The plot concerns a wealthy, lecherous old man who feigns a mortal illness in order to solicit bribes from greedy acquaintances who hope to inherit his fortune. Many complexities of plot and connivance ensue, but in the end, the guilty parties are exposed and punished. Explanatory footnotes.