Here are 100 books that Death in The Aegean fans have personally recommended if you like
Death in The Aegean.
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Having taken up the brush myself, I can attest to some sort of mystical, out-of-body experience that sometimes surfaces as an artist creates. Emotions and senses become directly connected to one’s hands, releasing the unconscious, allowing the artist to bring something to life that was buried deep inside. My favorite class in art school was Aesthetics, which explored the philosophy of art – what possessed the artist to paint – and what passions and beliefs were behind some of the art movements, including Surrealism, Dadaism, and Futurism. Books that delve into the craft and passion behind great works of art are my favorite reads.
In the Edgar-nominated The Shadow of Memory, the fourth book in a series set in England, antiques dealer Kate Hamilton is tasked to determine if a painting discovered in a former posh Victorian asylum is an authentic Dutch masterpiece.
The painting may be fictional, but the depiction of art forgery isnot, and it is fascinating to discover the new technologies for discovering a fake as described in this book. The mystery and murder comes in when the painting’s provenance is tied to the murder of an old flame of Kate’s friend Vivian, and Kate fears Vivian may have become the murderer’s next target.
The painting raises the stakes for the futures of Kate, Vivian, and the murderer.
In Connie Berry’s fourth Kate Hamilton mystery, American antiques dealer Kate Hamilton uncovers a dark secret buried in Victorian England.
As Kate Hamilton plans her upcoming wedding to Detective Inspector Tom Mallory, she is also assisting her colleague Ivor Tweedy with a project at the Netherfield Sanatorium, which is being converted into luxury townhouses. Kate and Ivor must appraise a fifteenth-century paintingand verify that its provenance is the Dutch master Jan Van Eyck. But when retired criminal inspector Will Parker is found dead, Kate learns that the halls of the sanatorium housed much more than priceless art.
Having taken up the brush myself, I can attest to some sort of mystical, out-of-body experience that sometimes surfaces as an artist creates. Emotions and senses become directly connected to one’s hands, releasing the unconscious, allowing the artist to bring something to life that was buried deep inside. My favorite class in art school was Aesthetics, which explored the philosophy of art – what possessed the artist to paint – and what passions and beliefs were behind some of the art movements, including Surrealism, Dadaism, and Futurism. Books that delve into the craft and passion behind great works of art are my favorite reads.
This is the last Bernie Gunther novel, in a series that is über noir, and whose protagonist is a police detective who is a member of the SS in Nazi Germany.
In Metropolis, Gunther learns that murder has become the subject of an art movement, Lustmord, or “lust murders” which focused on the brutal, sexual-tinged serial killings of women and prostitutes in 1930s Berlin.
A scene in the book of a famous German expressionist sketching a murder victim in the morgue is all the more chilling, since I know it to be true. I’ve been fascinated with the art movements of this era, and have seen the exhibits of Lustmordpaintings, which are still in museums today.
"[Metropolis is] a perfect goodbye--and first hello--to its hero...Bernie Gunther has, at last, come home."--Washington Post
New York Times-bestselling author Philip Kerr treats readers to his beloved hero's origins, exploring Bernie Gunther's first weeks on Berlin's Murder Squad.
Summer, 1928. Berlin, a city where nothing is verboten.
In the night streets, political gangs wander, looking for fights. Daylight reveals a beleaguered populace barely recovering from the postwar inflation, often jobless, reeling from the reparations imposed by the victors. At central police HQ, the Murder Commission has its hands full. A killer is on the loose and though he scatters many…
Having taken up the brush myself, I can attest to some sort of mystical, out-of-body experience that sometimes surfaces as an artist creates. Emotions and senses become directly connected to one’s hands, releasing the unconscious, allowing the artist to bring something to life that was buried deep inside. My favorite class in art school was Aesthetics, which explored the philosophy of art – what possessed the artist to paint – and what passions and beliefs were behind some of the art movements, including Surrealism, Dadaism, and Futurism. Books that delve into the craft and passion behind great works of art are my favorite reads.
The artist can be an interesting amateur sleuth in a mystery novel.
In Death in Delft, the painter, Vermeer, sketches the discovery of the body, and helps the main character investigate the death and disappearances of several young girls. An artist notices things in a different way, which can make them an interesting investigator.
For those of us who read and loved The Girl with the Pearl Earring, this is a new slant on Vermeer, as detective.
Having taken up the brush myself, I can attest to some sort of mystical, out-of-body experience that sometimes surfaces as an artist creates. Emotions and senses become directly connected to one’s hands, releasing the unconscious, allowing the artist to bring something to life that was buried deep inside. My favorite class in art school was Aesthetics, which explored the philosophy of art – what possessed the artist to paint – and what passions and beliefs were behind some of the art movements, including Surrealism, Dadaism, and Futurism. Books that delve into the craft and passion behind great works of art are my favorite reads.
Peter Lovesey’s detective discovers the power of art in this recent mystery set in Bath, England.
This book in the series is unusual, since most of the story is told through the eyes of a cheap private detective, who views Diamond as a grumpy old man. A body found in an antique sarcophagus and the disappearance of the antique dealer is at the start of the mystery, but the piece of art which was purchased in an antiques roadshow drives the plot.
Greed and ambition, stirred by the provenance of the art, results in several murder attempts which confound Diamond’s and the private detective’s investigation.
Of all the weird characters Detective Superintendent Peter Diamond has met in Bath, this one is the most extreme: a twenty-first-century private eye called Johnny Getz, whose office is over Shear Amazing, a hairdressing salon. Johnny has been hired by Ruby Hubbard, whose father, an antiques shop owner, has gone missing, and Johnny insists on involving 'Pete' in his investigation.
When Diamond, Johnny and Ruby enter the shop, they find a body and a murder investigation is launched. Diamond is forced to house his team in the dilapidated Corn Market building across the street. His problems grow when his boss…
I've been a working journalist for 50 years, and as a child of TV, especially in the 1960s, I grew up with some of the most memorable TV themes ever written. I started writing about TV in the 1980s, and since moving to Los Angeles in 1986, have used every opportunity to meet and interview all of my favorite composers of movie and TV music. The result is this book, which looks at the history of TV themes and, in a larger sense, music written for TV generally. Every genre of TV, from crime to sitcoms, westerns to adventure, has had fun, often compelling, and truly memorable music, and I've tried to celebrate it here.
Bernard Herrmann is revered as one of the movies' greatest composers.
Imagine starting your Hollywood career with music for Citizen Kane!
He enjoyed a very productive 10-year relationship with director Alfred Hitchcock, which produced such masterpieces as Vertigo, Psycho, and North by Northwest; he also worked with Francois Truffaut on Fahrenheit 451, composed the original Twilight Zone theme, and capped his career with music for Martin Scorsese's Taxi Driver.
Yet he could be cantankerous and difficult, antagonizing both friends and colleagues with his temperamental behavior and insistence upon the highest standards of music and drama.
I love the fact that Smith writes as well about the music as he does about the composer, and the reader walks away knowing lots about both.
No composer contributed more to film than Bernard Herrmann, who in over 40 scores enriched the work of such directors as Orson Welles, Alfred Hitchcock, Francois Truffaut, and Martin Scorsese. In this first major biography of the composer, Steven C. Smith explores the interrelationships between Herrmann's music and his turbulent personal life, using much previously unpublished information to illustrate Herrmann's often outrageous behavior, his working methods, and why his music has had such lasting impact. From his first film ("Citizen Kane") to his last ("Taxi Driver"), Herrmann was a master of evoking psychological nuance and dramatic tension through music, often…
Currently a full professor at Loyola University, he entered college at 16, studying chemistry, economics, and literature. He did graduate work in German, Russian, and Philosophy, held a double fellowship in music and literature, and wrote his dissertation on the relationship between historiography and epic poetry. In 2001, his 10th book, The Myth of the Great War was nominated for a Pulitzer Prize in history.
A scathing and detailed analysis of the Ango-French invasion of Greece and the military, political, and strategic debacle that ensured as they attempted to open a third front against the Central Powers. If you’ve ever wondered why this isn’t much talked about, or even mentioned, Abbott explains it.
From the preface: "The late convulsions in Greece and Turkey, and the consequent revival of all the mis-statements which, during the War, flowed from ignorance or malice, render the publication of this book particularly opportune. Mr. Abbott deals with his subject in all its aspects, and presents for the first time to the British public a complete and coherent view of the complicated circumstances that made Greece, during the War, the battle-ground of rival interests and intrigues, from which have grown the present troubles. In this book we get a clear account of the little-understood relations between the Greek and…
The Mediterranean is in my family’s history. My dad was a naval officer who worked in the sea in peace and war and took us to Malta when I was nine. I was entranced by the island’s history, by an evocative sensory world of sunlight, brilliant seas, and antiquity. I’ve been travelling in this sea ever since, including a spell living in Turkey, and delved deep into its past, its empires, and its maritime activity. I’m the author of three books on the subject: Constantinople: the Last Great Siege, Empires of the Sea, and Venice: City of Fortune.
We are reminded on almost a daily basis of the plight of refugees in fragile boats that this sea can be cruel as well as kind. The present diaspora has its forerunners – in this book the great population exchange of 1923 that saw the displacement of two million people across the Mediterranean: Greeks living in the Ottoman Empire, Turks living in Greece. Bruce Clarke both explains the chain of events in the aftermath of the First World War and records the personal stories of those who were uprooted from the places they called home. They have a familiar resonance, the repeating patterns of memory and loss: ‘I remember the day they went away,’ recorded a Greek woman of her Muslim neighbours. ‘Some kissed the earth, some took bowls of soil with them. They were decent types; their menfolk used to attend our funerals, and we would exchange presents of…
In the dismantling of the Ottoman Empire following World War I, nearly two million citizens in Turkey and Greece were expelled from homelands. The Lausanne treaty resulted in the deportation of Orthodox Christians from Turkey to Greece and of Muslims from Greece to Turkey. The transfer was hailed as a solution to the problem of minorities who could not coexist. Both governments saw the exchange as a chance to create societies of a single culture. The opinions and feelings of those uprooted from their native soil were never solicited.
In an evocative book, Bruce Clark draws on new archival research…
Growing up, I loved studying history, and reading historical, family sagas, and crime novels. Even though I have four degrees—three engineering and one accounting—I love to write. My goal is that my readers who don’t like history, learn it through my novels. What I like about writing is you learn not just about history not taught in school, but also other topics, including meeting and learning from very interesting people. Therefore, it is an interesting hobby to have. I am currently writing my third novel set in the 1960s, and written several articles and short stories. I have also written screenplays for two of my short stories.
Lovers of World War 2 and the interwar years will like this book. It partly goes into life during Nazi-occupied France during WW2 and its aftermath. Although this book is about one woman’s revenge against her former lover, it gives the reader an idea of what life was like during the occupation. It helped me understand the problems people go through and who their real friends are when faced with adversity. Even though people may do wicked things to others or to those who have harmed them, their conscience gets the better of them when it comes to helping those who have shown them kindness. Their good side is revealed; so therefore, it is always good to find the saving grace rather than just the bad qualities in people.
The Other Side of Midnight is Sidney Sheldon at his best. This page-turner is full of tortured romantic entanglements, reverses of fortune, thrilling suspense, and ultimate justice. In Paris, Washington, and a fabulous villa in Greece, an innocent American becomes a bewildered, horror-stricken pawn in a game of vengeance and betrayal. She is Catherine Douglas, a woman caught in a web of four lives intertwined by passion as her handsome husband pursues an incredibly beautiful film star . . . and as Constantin Demeris, a legendary Greek tycoon, tightens the strands that control them all.
I became passionate about ancient Greece as a teenager when I studied the ancient languages and history at school. I was also lapping up ancient Greece on film—back then the so-so Burton-Taylor Cleopatra really impressed. I got enthused by historical novels too, Mary Renault’s especially. My first visit to Greece as a university student hooked me on modern Greece as well. Since then, I’ve become a professional academic specialising in ancient Greece and have been lucky enough to develop a lifelong relationship with modern as well as ancient Greeks. I lived in Greece for six years in my twenties, and have gone back repeatedly ever since. I’ve published widely on Greece’s ancient history and archaeology.
This is a dreamer’s book—notes about life, literature, and the universe written by the author after accepting on the spur of the moment a Greek friend’s invitation to go island-hopping in a little sailing boat.
I like it not just because I knew the author’s late daughter and treasure his affectionate references to her, but also for its erudite musings and reflections. They remind me of how, even from the deck of one of today’s decidedly unromantic ferries, the glinting sea and island silhouettes induce a state of semi-trance or reverie, pushing your thoughts into overdrive.
The author was a heavyweight figure on Greece’s literary scene, but this little book is charming, short, and accessible.
Zissimos Lorenzatos (1915-2004), essayist, thinker and poet, was arguably Greece's most significant man of letters in the twentieth century. In the Aegean Notebooks, a record of his observations and reflections while sailing among the Greek islands in the 1970s and 1980s, the special quality of his literary and philosophical gifts, and of the man himself, are vividly present. Along with everything a mariner yearns to bring ashore, all he has felt and experienced at sea with the wake of the boat unfurling behind him, Lorenzatos brings us in addition a lifetime's learning and contemplation. For him, life, and the living…
The greatest influence on my interest in the theme of war is, of course, my father. Only later, when I became involved with the FEPOW groups, I heard the real stories of what happened to them as individuals, as well as the poor treatment of families back home in Britain. My book is based on their stories. However, this interest also spread to other areas as I read about the history of war while studying literature and, later, the work of various official War Artists. In all of it, the despair and hopelessness comes through, definitely not any sense of the ‘glory’.
As part of my English Literature studies, I was instantly taken by the desperation and reality of life for these very young men fighting in the trenches during WWI.
Even if poetry is not your preferred style, for anyone interested in military history, Owen’s poems describe the stark fear and appalling conditions for the soldiers and the clear incompetence of those in charge.
They are hauntingly vivid in his descriptions of their existence and, of course, the inhumanity of war. It is particularly sad that he died as hostilities ended.
'Orpheus, the pagan saint of poets, went through hell and came back singing. In twentieth-century mythology, the singer wears a steel helmet and makes his descent "down some profound dull tunnel" in the stinking mud of the Western Front. For most readers of English poetry, the face under that helmet is that of Wilfred Owen.' Professor Jon Stallworthy, from his Introduction.
When Wilfred Owen was killed in the days before the Armistice in 1918, he left behind a shattering, truthful and indelible record of a soldier's experience of the First World War. His greatest war poetry has been collected, edited…
