MADreads

Aphrodite Du Bell hates her name. The eponymous heroine of J. J. McAvoy’s romance Aphrodite and the Duke certainly has the beauty and bearing reminiscent of the Greek goddess, but ever since she was jilted by Evander Eagleman, Duke of Everely, she’s been reluctant to reenter society. An ultimatum from her formidable mama means she must find a husband this year, but the discovery that the now-widowed Evander will be present this season gives Aphrodite a sliver of hope she might be able to rekindle the love she knows Evander genuinely held for her.

It’s a grisly scene that police photographer Rita Todacheene is called to late one night outside of Albuquerque. Bits of the woman’s body are strewn over the interstate, the victim of an apparent suicide from an overpass. But the voice of a furious Erma—whose remains Rita is so diligently documenting—insists it was murder, and Erma won’t stop haunting Rita until she gets vengeance. But Rita’s secret—her ability to see and speak to the dead—is a terrible secret she can neither escape nor even acknowledge to anyone living, a curse that makes her taboo in her Diné (Navajo) community.

One was killed by drowning. A few succumbed to grief. At least one fell and broke his neck, while others went by hanging, or in battle, or were stabbed. Some deaths were quite singular—a ‘burning quotidian tertian’, a ‘Malady of France’, a bear’s meal, and even a death from a surfeit of joy. All told, the killer had some 250 victims, not including the nameless souls that died without notice. No, this isn’t some horrid tale of a serial killer run amok, but the casualty list from William Shakespeare’s plays.

Thanks to the popularity of Netflix’s series The Crown (and the constant drumbeat of stories about Meghan and Harry vs. Kate and William) there has been a resurgence of interest in one of the Windsor family's most fascinating characters, Princess Margaret. Younger sister of Queen Elizabeth, Princess Margaret has to be arguably the most polarizing royal figure of her era.