Camilla is a mystery in a many ways - her name is well known, but, not all that much is known about what she is really like. This book give a satisfying look at the woman who was the third party in the marriage of the Prince and Princess of Wales. Not always flattering, but, always fascinating, it tells the story of Camilla's life in a manner that shouldn't offend any die hard Diana fans (I am one). It left me wanting to know more about her, satified my desire for trivial details and left me with some admiration on this easy to dislike woman. After all, she and Charles have had a relationship for far longer than most marriages last, and, when all is said and done, he has a right to be happy. The whole saga of Charles, Diana and Camilla is a lesson to the world on marrying for the right reasons and the need to be clear on motives and motivations.

If you go to the UK version of Amazon you'll find all sorts of information about this book. Let's face it, when it comes to fish, the British are far more on the ball the Americans. They live on the stuff.

The recipes in here are REALLY easy to do, with very clear instructions, and tasty!!! What really amazes me is that I'll find some odd kind of fish I've never heard of before for sale at the grocery store at a really cheap price so I buy it. I come home, I open this book and there are at least 5 different ways to prepare it. I look in some of my other fish cook books, and I'm lucky if I find even one recipe.

You have GOT to get this book!!!

I bought this book some years ago in the UK. It is an admirable introduction to south and central American cooking, and is an encouragement to explore further. Her range is wide, but not recherche: the reader will look in vain for a recipe for Bolivia's charque kan. The pictures alone are an encouragement, not only to cook south American, but to go there and see for yourself.

This critical anthology collects various approaches that register the changes in contemporary theory pertinent to the thinking of the nation. There are no less than nine different critical responses exploring the equivocal significance of narratives of identity, origin and progress in the cultural formation of the nation. As Prem Poddar puts it in the Introduction, "such a redescription of the nation works to acknowledge the complexities of cultural difference by raising the question of translation" (8). And in the same way, according to Homi Bhabha, translation involves both persistence and change such that the discourses around the nation are both "lost and returned, superseded and restored" (9).

Because the volume encompasses a wide range of theoretical approaches that move back and forth from the western topographies of Denmark and Canada to the cultural specificities of South Africa, Sri-Lanka and India, Meena Alexander's refreshing cross-breeding of critical and creative writing over the issue of cultural translation is appropriately the opening essay of this collection. In Alexander's paper the fluid diasporic world within which she must carve a space to live goes hand in hand with her woman's body that she cannot escape.

In his fascinating essay entitled "Europe's Violence: Some Contemporary Reflections on W. Benjamin's Theories of Fascism", Graham MacPhee discusses Benjamin's engagement with the aesthetic as a part of his examination of the consequences of technological modernity for the social and political forms bequeathed by the Enlightenment. By relating Benjamin's essay on German fascism to Kant's "Perpetual Peace", MacPhee attempts to show how Benjamin's oeuvre offers resources in reformulating the parameters of the nation "through its exploration of the recognition and negotiation of violence both within and beyond the borders of nation-state" (25). If MacPhee's reading of Benjamin's work is taken to mark the emergence of a new global topography in the aftermath of the first War World, Neluka Silva's essay on literary representations of contemporary Sri Lankan politics seeks to explore individual, collective and gendered identities in relation to nationhood. Through an acute examination of different genres and various Sri Lankan literary texts written in English, Silva wishes to show the construction of ethnic identities as inextricably linked to the nationalist rhetoric of the Sinhalese state on one hand and to the separatist discourse of the Tamil Tiger guerilla force on the other.

Two interesting essays deal with issues connected to nationalist identity and post-colonial experience. Lars Jensen focuses on the position of contemporary Canadian and Australian writer in relation to the idea of space as a shaping force in constructions of national identity. After examining numerous literary texts as examples of post-colonial literature, Jensen concludes that Canadian and Australian writing's relation to the center -be it national or geographical - can only be fluid and process-oriented, constantly changing to the interpretations of history. This argument is taken further by David Johnson in his analysis of a particular ethnic minority, the Griqua in South Africa, and their claims to the South African government for recognition. By providing three versions of colonial history that deal with questions of origin and the possible deprivations the Griqua might have suffered because of colonialism and apartheid, Johnson argues that while the post-colonial critic will focus on "the historically defined discursive systems" constituting Griqua national identity the South African member of the parliament has until recently refused to include Griqua ethnicity in the South African rainbow nationhood.

Where Johnson offers a close reading of key colonial Griqua texts in order to disclose the violence included in the category of the nation, Hans Hauge undertakes an original comparison of South African and Danish literary history. He concludes by claiming to have found neo-Kantian echoes in post-colonial discourse and by identifying Edward Said's Orientalism as an Arab postmodern text.

A more telling take on Danish history is presented Prem Poddar and Cheralyn Mealor. Through a meticulous postcolonial reading of Peter Høeg's novel Miss Smilla's Feeling for Snow, the critics provide a seminal, much-needed, and fascinating account of Danish nationalism. Poddar and Mealor view Smilla as a critique of Danish imperialism and Danish colonization of Greenland while at the same time they reveal the text's ambivalence in its treatment of Danish national identity. Read in this light, Høeg's novel becomes a paradigmatic text exploring the interrelated issues of colonialism, nation and migrancy.

Mahesh Daga's reading of vernacular archives seeks to demonstrate the ambiguities and confusions surrounding the use of the Indian term jati as nation during the closing decades of 19th century. More than questioning the uncritical translatability of such terms, Daga aims to demonstrate that the changes occurring in vocabulary of public discourse are "symptomatic of crucial changes in the conception of nation itself" (205).

Echoing the volume's opening essay, Caroline Bergvall's final paper seeks to explore questions of translation and translatability. Through an examination of texts written across several national languages, Bergvall argues that while translation from one language to another encourages notions of linguistic transparence and humanist universalism, plurilingual writing (writing that takes place across and between languages) operates "against the grains of conventional notions of translatability and intelligibility" (248). Moreover, by problematising the contemporaneity of hyphenated identities cross-lingual textuality foregrounds issues of personal and cultural memory and locatedness.

While the theoretical and methodological sophistication of Translating Nations may be lost on a reader who is not conversant with the related discourse, anybody interested in contemporary critical approaches to the nation should become acquainted with the volume.

Good but not as good as some of her earlier mysteries. Still well worth reading though, for her wonderfully British characters and her twisted plot. If you like your murders to occur in quaint villages rather than mean streets then Ms. Graham is the writer for you. Be sure to read Death of a Hollow man or Murder in Maddingly Grange before attempting this one.

I have loved Caroline Graham's books for some time now and I think this is her best. The characters are expertly drawn; Graham has a way of making you feel as if you are in amongst them and yet watching from a safe distance. The roller coaster ending was a complete surprise to me and I highly recommend this book to mystery readers.

I read this book a year or so ago and was taken with it then. I often find myself thinking about the real characters and wondering how things could have been different for them all. While this review is not meant to re-tell the story, it is to alert readers to a unique type of author, one who uses imagery and quaintness to pull one in rather than hard core blood and guts. A&E recently showed a two part television version of this called "Midsomer Murder" and it too was very well made.

It's beem awhile since I read the first book in this series. It was enjoyable because I love "cozies". This one is quite different than the typical English village where death upsets the daily lives of the villagers, but it sure reminded me of Ngaio Marsh. For those of you who have read Ms. Marsh, you know that she sets her mysteries around English theatre. This book by Ms. Graham is set around an English theatre company, and all of the innuendos and undercurrants that surround a small country company. It's a good story, and I found that I still really like Barnaby and Troy. Ms. Graham is the first modern author that I have found that can write mysteries like the old English masters- Marsh, Dorothy Sayers, Agatha Christie and Margery Allingham. Nice subplots, humour, characterization, ambience and setting.

My first Caroline Graham mystery and I went right back for more! With an unerring eye for the ins and outs of small town theater, Caroline Graham manages to create a great deal of sympathy for all of her oddball characters. They are familiar, yet not stereotypes and even while she savagely skewers them on one page, she shows us unexpected and realistic depth on the next.

Those familiar with the British mystery will not be disappointed. The lovely allusions to village life, the "British-isms" all contribute to the readability of this book.

But why on earth has it gone out of print?

In "Death of a Hollow Man", Caroline Graham presents a typical amateur theatrical troupe in a small English village. The characters and situations are wonderfully described, with sparkling wit and psychological truth. When one of the actors turns up dead, Inspector Barnaby and his politically-incorrect-yet-sympathetic sidekick Sergeant Troy have to sort out the suspects from those who just can't resist the chance to show off. A first-rate whodunnit; I can't believe it's out of print!

I am a big fan of Caroline Graham, and I love her characters - Barnaby and Troy. This book has a pretty good puzzle. Some of the characters were quite well drawn, but I found the book faintly depressing. I wonder if the whole side bar with Brian was really necessary to the story? I found that part of the book quite distasteful actually. There comes a time when storylines like that one can be thought of as sensationalizing since they do not really add to the story. But other than that I enjoyed this book. The dust jacket says that Caroline Graham shows humour and pathos in her stories, and I think that is really true. Barnaby is a really appealing main character, and I want to continue to read in order to get to know him better.

Caroline Graham may be the most underrated of the British mystery writers. In "Written in Blood" as well as "Death in Disguise," she has produced good puzzles and some of the best internal monologues of some of the most interesting and diagnosable characters ever to grace the pages of a whodunit. As a writer, she is comparable to Iris Murdoch in her ability to see the primordial ooze underlying all drawing room comedies. Her characters teeter on the edge of civilization and threaten to topple over through pure narcissism. What a delight: there we all are, the good, the bad, and the irrascible. That includes the good guys and the bad guys, though the bad guys are a bit worse than the others. I recommend her books to anyone who likes the British mystery genre and to anyone who enjoys a well-written comedy of manners...

This book was not my favourite Graham, but a good one nevertheless. Ms. Graham's characterizations make her stories exceptional and this book is no different. This book starts with the death of an unpleasant man, and we the readers really don't care who did it, but Ms. Graham develops the other members of the village, and we suddenly find ourselves caring very much about some of the chief characters. This book is also different in that there is no real doubt as to the killer - the only thing is to try to flesh out the details as to why that particular killer killed that man and harmed that woman. This makes it a bit different than many other of her books. I certainly hope that this not her last effort in the Barnaby/Troy series. This book was written in 1999 and there has been nothing since then.

Caroline Graham's earlier books have been serious or overtly humorous, the later books are a strange mixture of subtleties and caricature. Whether a book is enjoyable or not seems to depend on the balance between the endearingly or interestingly eccentric, the irritating and the obnoxious. I enjoyed 'A Place of Safety' despite the presence of the forthright Cully, who can dominate a book even if she's supposed to be nowhere in the vicinity. (There seems to be a disproportionate number of fictional detectives with actress wives or daughters. I don't know whether authors use them in the interest of plot, as a way of introducing further elements of drama or because they think there are characteristics common to both professions.) I still find the author's use of product name-dropping excessive, almost enough to justify the addition of explanatory notes before the foreign and large print editions come out. The descriptions that don't use this device often seem much more interesting and inventive. It is difficult to classify all the books as a whole. Even in the main series different readers may find different books more or less congenial, but they may find it worthwhile to read more than one book before they decide what they do think of them.

In Ferne Basset, Charlie Leathers was walking his Jack Russell when he saw Carlotta either fall or be pushed by Ann Lawrence from a parapet near the old Rectory. Charlie vanishes into the night. Charlie blackmails Ann. However, someone murders Charlie. The stunned townsfolk link the murder of Charlie to the disappearance of Carlotta, but cannot find the connecting evidence or ascertain what that could be.

Inspector Barnaby begins to investigate the death of Charlie. He soon learns that the nasty Charlie was very unpopular among the townsfolk, but no one appears to have had a strong enough motive to kill the victim. Thus, suspects abound, but none seemingly obvious. Barnaby also learns about Carlotta running away. He also finds out the prevalent theory links the two incidents, but no one can explain how. Instead, Barnaby continues his methodical inquiries into obtaining the truth behind the murder of Charlie.

A PLACE OF SAFETY is a typical English cozy that travels under the minimum speed limit yet maintains an eccentric charm about the plot. Through Barnaby,s investigation, the story line centers on an insider's look at what makes the residents of Ferne Basset tick. Caroline Graham writes a delightful and amiable stroll through an English village gossiping over an unexpected murder case.

Harriet Klausner

While I felt that this was an interesting read I felt the author painted an unfair portrait of Diana. She portrayed Diana as a crazy, unstable shrew and yet it was Charles refusal to end his relationship with Camilla that caused Diana to be so unhappy and angry. I don't think there are very few women on this planet that would be happy and accept the fact that their husband has a mistress for 20 years that he refuses to give up after marriage. It proved to me at least, that Diana was justified in her ending her marriage and giving up the throne. The author paints Charles and Camilla as 2 poor lovers who go through hell just to be together. I felt no sympathy for either of them. But it is an engrossing book none the less.

An even and informative tale about Camilla Parker-Bowles, a poor little rich girl who may someday get her prince.

What we learn is that the upper class in the UK is alive and sick with its own moral code. Do what you want, just don't talk about it.

I like the author's style of writing, but don't really care for Camilla.

Caroline Graham's Inspector Barnaby is a wonderful character. He's so human and so likeable with all of his human shortcomings and uncertainties. Troy, his partner, is quite despicable actually. He's such a chauvinist, and quite full of himself, but again, he's so believable. Ms. Graham draws very real characters. Even the quirky people involved in this particular mystery are so finely drawn that they are recognizable. Ms. Graham writes in the "cozy" genre, but her books are really anything but cozy. There is enough murder and mayhem for anybody if they take the time to read her books. This book does such a good job of descrbing cult life that it appears the author has personal experience with this type of lifestyle. I sincerely recommend this series for those mystery readers are looking for something a little different, and for characters and situations quite out of the ordinary.

Caroline Graham is sheer joy to read. Her characters are always eccentric but never caricatures (though the author's acerbic tongue may initially make you wonder!) The literary allusions, the author's determination to make her reader stretch (but never in a pedantic or boring way) all contribute to the "can't put it down" quality. (NEVER start a new Caroline Graham just before bedtime. Wait 'till you have several hours to spend.)

Throughout Death In Disguise I found myself sympathizing with not only the sympathetic characters, but also the obnoxious, the loopy, and the pathetic. Throughout it all the plot weaves and clues drop, which are available to the alert reader to sort out.

That said, there are some weaknesses in this particular mystery. An unfortunate affair is introduced rather clumsily for the obvious (and awkward) purpose of setting up a character's demise. The villain is only revealed through some out-of-character twists. The police work seems rather lacksadaisical, without the tightness that the excellent writing would suggest be accorded to the plot (bodies drop like ninepins and yet no crime scene is cordoned off, suspects flee without follow-up, and so on.) But the sly development of fully rounded characters plus her dead-on skewering of the new age fringe is priceless.

I'm sorry it's gone out of print. I hope the publisher plans to reissue a paperback at least. If you enjoy Dorothy Sayers, you will love Caroline Graham.