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When the latest victim of the "Beltway Basher" is found in the woods of Montrose Park, Reven Lynch's favorite jogging spot, her crime-loving antenna goes up. The murder makes Reven and her best friend, Violet Bolton, reconsider their running route-but that's not the only change in Reven's routine. Her chic Georgetown neighborhood isn't accustomed to brutal slayings, and when the smooth, enigmatic Detective Gunner shows up in her antique shop, asking pointed questions, Reven's left wondering how close to home the killings are. Gunner is convinced the murderer is a society bigshot hiding in plain sight. But he is out of his element in the rarefied world of embassy dinners and symphony balls, and Reven is perfectly positioned to feed him the inside information he needs. She throws herself into her role as the detective's "ersatz Mata Hari," only to discover that the prominent skirt-chasing businessman for whom she's fallen tops Gunner's shortlist of suspects. And that's not the half of it: a philanthropic bombshell named Cynthia Rinehart has taken the city by storm, and Violet's steady marriage is suddenly encountering some major turbulence. . . . During the course of the investigation, the social world will unravel, an old friendship will be put to the test, scandalous secrets will be unleashed, and Reven will discover that nothing old or new, in high culture or low life, is what it appears. A riveting tale of murder, money, and high society, set in the glamorous, politics-fueled world of the nation's capital, Mortal Friends delivers another "killer read" (People).
No one brings alive the intrigues of the champagne set like Jane Stanton Hitchcock. Now Jo Slater, the wily heroine of her best-selling novel Social Crimes, returns in a dazzling new story of passion, money, and murder. Jo is in Barbados, preoccupied by the notion of a new romance with a dashing English lord, when Russell Cole, a fabulously wealthy art collector, disappears from his yacht. Jo suspects that Russell's wife knows a great deal more about her husband's disappearance than she is letting on. Back in New York, Jo discovers that a figure from her own past continues to put her at great risk and that neither the urbane lord nor her missing friend's wife is what they appear to be. Another set of secrets from the gilded world of New York society is revealed in a unique blend of wicked social satire combined with a page-turning mystery. One Dangerous Lady is Jane Stanton Hitchcock at her sly, bewitching, and devilish best.
When her husband dies, New York socialite Jo Slater is shocked to learn that he left his sizable estate to a mysterious French countess. Obsessed with recovering her place as queen of New York, Jo concocts an audacious scheme of revenge. Can she pull it off?
Faith Crowell is 39 years old, content in an artist's life that is solitary but not lonely. A specialist in trompe l'oeil--the art of painterly illusion that makes things seem to be what they are not--she is about to learn that illusion is more than a painter's trick: for some it is a way of life. Frances Griffin is a grande dame, a reclusive widow whose fabulous fortune represents the accumulated wealth of generations of American aristocrats. She is one of the country's foremost art collectors, but the commission she is about to offer demands far more than artistic technique. In fact, it will test Faith's very soul. For when Mrs. Griffin proposes that Faith paint the ballroom of her mansion, a room built many years before for her daughter's debutante ball, it is not Faith's talent that she desires, but something else. Jane Stanton Hitchcock has written a stunning novel with modern Gothic overtones set in the fashionable world where privilege and social grace mask a legacy of greed, deception, and murder. Behind the facade of exquisite beauty, behind the kindness with which she is treated, lies a landscape littered with horror and guilt. As the story rushes to a searing climax, Faith will face a shattering clash between her patron's spurious values--and her own hard-won vision of the truth.
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