Whether taking us to Orléans to evoke the miraculous visions of Joan of Arc, to Versailles to experience the flamboyant achievements of Louis XIV, or to the Place de la Concorde to witness the beheading of Marie Antoinette, Caro animates history with her lush descriptions of architectural splendors and tales of court intrigue. Organizing her destinations chronologically from twelfth-century Saint-Denis to the nineteenth-century Restoration at Chantilly, Caro appeals not only to the casual tourist aboard the Metro or the TGV but also to the armchair reader of Peter Mayle's A Year in Provence. Caro's passion for and knowledge of France—its soaring cathedrals, enthralling history, and sumptuous cuisine—are so impressive that Paris to the Past promises to become one of the classic guidebooks of our time.

    She was wrong. Waking up in the hospital and realizing she's being stalked by an entire herd of naughty little ghosts turns her entire world upside down. She begins to doubt her own sanity until she realizes she isn't alone. A Goth girl, named Zoe, can see the ghosts, too. Most of the ghosts look like fuzzy blobs, but one is not blobby at all. He's a very hot, very annoying dead guy named Nick. Although they dislike each other on sight, Nick soon realizes Lily is his only hope. With the help of Zoe and Mr. Wan, the manicurist who almost killed her, she has only days to get Nick and the other ghosts back where they belong or the whole world will be in terrible danger. But sending the ghosts back means saying goodbye to Nick forever, and Lily isn't sure she'll ever be able to let him go.

    Flynn made his first appearance in Confess, Fletch, matching wits with the inimitable Irwin Fletcher, he has befuddled, infuriated, and amazed his colleagues on the Boston Police force while in pursuit of blackmailers, murderers, embezzlers, politicians, and, occasionally, his fellow policemen.It might have been an accident that brought down the Boeing 707 over Boston Harbor, virtually in Flynn’s own backyard. But it seems unlikely, with so many potential targets on board: The heavily insured, elderly Federal judge; the has-been British actor; the middleweight champ; the Middle Eastern finance minister. The motive could have been greed, murder, revenge, or even terrorism–and it’s up to the good inspector to get to the bottom of it.

    William has his running-away money ready to go, he's just been waiting until he's older than twelve to leave. When his big brothers flush his sister's pet guinea pig down the toilet, she insists they leave now. And take the two littlest Baggetts with them. So they head out in the middle of the night, ready to escape to their aunt Fiona's house. Unfortunately the trip doesn't go exactly as planned. It's not so easy traveling with two little kids, and some help from a lonely rich girl makes it even more complicated. Will they ever make it to Aunt Fiona's? And if they do, will she let them stay? This is the story of four children who learn that sometimes you have to run away before you can find your way home.

    The audacious and patchwork concept underlying this story (the richer you are the less you are forced to consume; the greatest poverty is involved with the aggregation of goods) was Horace Gold’s and according to Pohl he had offered it to almost all of his regular contributors, asking for a story centered on the idea. The idea lacks all credibility, everyone (including Pohl) told him and everyone refused to write something so patently unbelievable until, according to Pohl, Horace browbeat him into an attempt and Pohl decided that it was less trouble to deliver something than continue to resist. To his utter shock, the story was received by Gold and his readership with great glee, was among the most popular GALAXY ever published (or Pohl) and one of the most anthologized. Whether this demonstrated the audacity and scope of Gold’s unreason or whether it confirmed Gold’s genius (or both) Pohl was utterly unable to decide. The sculpted consumer-obsessed society was used again by Pohl a few years later in the novelette THE MAN WHO ATE THE WORLD which was far more credible (consumption-obsession as a kind of personal tyranny) and, perhaps for that very reason, much less successful, barely remembered.

     When underwater archaeologist Sam McGowan is asked to help salvage a sunken Confederate blockade runner, he's eager for the opportunity to investigate his own family history -- especially since the project is being handled by Gordon Chandler, a notable authority in underwater salvaging. When he finds Gordon's daughter Rachel in charge, Sam is not pleased. She can't possibly be her father's match. But not only has Sam wildly underestimated Rachel's professional abilities, he has yet to discover the many other facets of this complex woman. All her life, Rachel Chandler has dreamed of finding sunken treasure. While grateful to run her first solo operation, she resents having been assigned to run the salvage operation of a sunken blockade runner while her father is investigating a pirate ship. Most definitely, she does not want to work with a man who will question her every move. But when she and Sam stumble onto an unexpected cache of gems aboard the sunken wreck, they're drawn into something that fast becomes far more than just a working partnership. As Rachel and Sam start to dream of a future together, they also begin to realize that the fabulous treasure they have discovered holds more danger than they ever suspected.

    Who is she, and what was she doing out there in the middle of nowhere? The search for answers will take Angela from a grand stately home to London’s most fashionable—and disreputable—nightclub, and into a murky world of illegal drinking, jazz music and lost souls. THE INCIDENT AT FIVES CASTLE (Book 5) It is Hogmanay, and Angela Marchmont is at Fives Castle, the Scottish seat of the Earl of Strathmerrick, to see in the start of 1928. But when she finds out that the Foreign Secretary, the American Ambassador and the Head of British Intelligence are also among the guests, Angela begins to suspect that something momentous is afoot. Before long, they are all snowed in and a body is discovered, and Angela soon finds suspicion directed against herself... THE IMBROGLIO AT THE VILLA POZZI (Book 6) While holidaying in Italy, Angela Marchmont is persuaded to postpone her trip to Venice and go to Stresa instead, to investigate a pair of spiritualists who are suspected of defrauding some of the town’s English residents out of their money. But what starts out as a minor matter swiftly becomes more serious when one of the residents in question is found dead in the beautiful gardens of his home, having apparently committed suicide. Seduced by the heady sights and scents of the Italian Lakes, and distracted by an unexpected encounter with an old adversary who seems bent on provoking her, Angela sets out to find out the truth of the affair and resume her journey to Venice before she forgets herself and loses her head—and her heart.

    Spanning six decades, these three novels follow a man and his family as they struggle to adapt to life in a new world. From the death of Queen Victoria through the swinging sixties, this acclaimed saga is an unforgettable story of a farming family and a vanishing way of life.  Long Summer Day: Lt. Paul Craddock returns to England after the Boer War to resume civilian life. His father has died, leaving Craddock heir to a scrap-metal business. But instead of continuing the family business, he purchases an auctioned-off thirteen-hundred-acre estate, Shallowford, where he will be changed by his love for two women: fiercely independent Grace Lovell and lovely, demure Claire Derwent.  Post of Honour: Through hard work and love of the land, Craddock has transformed his sprawling estate and enjoys a peaceful country life with his wife and three children. But war has begun its inevitable march across England, and this remote corner of Devon cannot escape its destruction. As the Great War ends and another threatens to erupt, Craddock’s faith and the strength he derives from his family must sustain him and his village through trying, tumultuous times.  The Green Gauntlet: Though Craddock’s village has endured despite the sorrows of war, he has new perils to face. Emerging property laws threaten his livelihood, dividing his family over the future of his beloved Shallowford. For his sons and daughter, the fifties and sixties will be a time of discovery and change that will resonate in the lives of their own children.

    Buck set in war-time China. Dr. Gray Thompson, an American missionary doctor, works alongside Dr. Sara Durand in a hospital he has built in a small Chinese village, as Japanese forces approach. When Gray returns from a visit to America a trip, he shocks Sara (who is in love with him) by introducing his new socialite wife, Louise. In the midst of bombing attacks on the village, Dr. Thompson continues to help the local residents, and especially the insurgent leader Chen-Ta. To protect the hospital, a high-ranking Japanese prisoner gets a message to the Japanese commander which stops the bombing but, eventually, Japanese paratroopers land in the village, and fierce fighting ensues. China Sky was also the subject of a 1945 movie of the same name. Pearl S. Buck (1892-1973) received the Nobel Prize in Literature in 1938 and was the author of numerous novels, short-stories and works of non-fiction.

    And it turns out that resting in peace isn't really a thing.

    (Heinlein’s novel The Puppet Masters had been serialized in the September through November 1951 issues of Galaxy but Gold had merely acquired serial rights to a contract novel which had been written for Scribner’s.) Heinlein never again appeared in Gold’s Galaxy. This novelette, set in a near-future only subtly different from the McCarthyite and politically menacing present deals with social deterioration, cultural breakdown in a careful, documentary style which becomes terrifying. His romantically-linked leads are emotionally affecting but never sentimentalized, the background of chaos in which they enact their tragic, drowning love, is sparingly but furiously painted. Heinlein’s 1952 is clearly the apotheosis of those “Crazy Years” which he had noted in his famous chronological Future History, published a decade earlier in Astounding Science Fiction as a precis of his intended career. Perhaps no story of this period limns its political and cultural dysfunction as accurately as this novelette. Overshadowed by Heinlein’s juveniles and his famous later novels, The Year of the Jackpot may be the purest version of his portfolio and his most memorable work of less than novel length. It is one of his most exemplary stories and perhaps his best.