Bøger af Fiona Davis

"Nueva York, 1913. Laura Lyons no puede pedirle mâas a la vida: es la esposa del superintendente de la Biblioteca Pâublica de Nueva York, situada en la câelebre Quinta Avenida, donde viven junto a sus dos hijos. Ademâas, acaba de ser admitida en la facultad de periodismo de Columbia, una de las âunicas mujeres en lograrlo. Un dâia y de forma misteriosa, empiezan a desaparecer de la biblioteca valiosos ejemplares, lo que convertirâa a Laura y su familia en los principales sospechosos de los robos. Nueva York, 1993. Sadie Donovan trabaja como curadora de libros antiguos en la misma biblioteca en la que viviâo su abuela, la câelebre ensayista Laura Lyons, pionera del feminismo en los Aänos Veinte. Sadie ha ocultado su parentesco con la escritora, pero cuando la biblioteca se enfrenta a una oleada de robos de manuscritos, sus pesquisas la llevarâan a bucear en su pasado familiar, y sacarâan a la luz la verdad acerca del mayor misterio de la historia de la Biblioteca." --

New York City, 1956. When nineteen-year-old Marion Brooks "comes across an opportunity to audition for the famous Radio City Rockettes, ... she jumps at the chance to exchange her predictable future for the dazzling life of a performer. Meanwhile, the city is reeling from a string of bombings orchestrated by a person the press has nicknamed the 'Big Apple Bomber,' who has been terrorizing the citizens of New York for sixteen years. ... With the public in an uproar over the lack of any real leads after a years-long manhunt, the police turn in desperation to Peter Griggs, a young doctor at a local mental hospital who espouses a radical new technique: psychological profiling. As both Marion and Peter find themselves unexpectedly pulled in to the police search for the bomber, Marion realizes that as much as she's been training herself to blend in, ... if she hopes to catch the bomber, she'll need to stand out and take a terrifying risk"

Eight months since losing her mother in the Spanish flu outbreak of 1919, 21-year-old Lillian Carter's life has completely fallen apart. For the past six years, under the moniker Angelica, Lillian was one of the most sought-after artists' models in New York City, with statues based on her figure gracing landmarks from the Plaza Hotel to the Brooklyn Bridge. But with her mother gone, a grieving Lillian is rudderless and desperate - the work has dried up and a looming scandal has left her entirely without a safe haven. So when she stumbles upon an employment opportunity at the Frick mansion - a building that, ironically, bears her own visage, Lillian jumps at the chance. But the longer she works as a private secretary to the imperious and demanding Helen Frick, the daughter and heiress of industrialist and art patron Henry Clay Frick, the more deeply her life gets intertwined with that of the family - pulling her into a tangled web of romantic trysts, stolen jewels and family drama that runs so deep, the stakes just may be life or death. Nearly fifty years later, mod English model Veronica Weber has her own chance to make her career-and with it, earn the money she needs to support her family back home-within the walls of the former Frick residence, now converted into one of New York City's most impressive museums. But when she-along with a charming intern/budding art curator named Joshua-is dismissed from the Vogue shoot taking place at the Frick Collection, she chances upon a series of hidden messages in the museum: messages that will lead her and Joshua on a hunt that could not only solve Veronic'as financial woes, but could finally reveal the truth behind a decades-old murder in the infamous Frick family."--

A Good Morning America Book Club Pick and New York Times bestseller! "A page-turner for booklovers everywhere! . . . A story of family ties, their lost dreams, and the redemption that comes from discovering truth."-Adriana Trigiani, bestselling author of The Shoemaker's Wife In New York Times bestselling author Fiona Davis's latest historical novel, a series of book thefts roils the iconic New York Public Library, leaving two generations of strong-willed women to pick up the pieces. It's 1913, and on the surface, Laura Lyons couldn't ask for more out of life-her husband is the superintendent of the New York Public Library, allowing their family to live in an apartment within the grand building, and they are blessed with two children. But headstrong, passionate Laura wants more, and when she takes a leap of faith and applies to the Columbia Journalism School, her world is cracked wide open. As her studies take her all over the city, she is drawn to Greenwich Village's new bohemia, where she discovers the Heterodoxy Club-a radical, all-female group in which women are encouraged to loudly share their opinions on suffrage, birth control, and women's rights. Soon, Laura finds herself questioning her traditional role as wife and mother. But when valuable books are stolen back at the library, threatening the home and institution she loves, she's forced to confront her shifting priorities head on . . . and may just lose everything in the process. Eighty years later, in 1993, Sadie Donovan struggles with the legacy of her grandmother, the famous essayist Laura Lyons, especially after she's wrangled her dream job as a curator at the New York Public Library. But the job quickly becomes a nightmare when rare manuscripts, notes, and books for the exhibit Sadie's running begin disappearing from the library's famous Berg Collection. Determined to save both the exhibit and her career, the typically risk-adverse Sadie teams up with a private security expert to uncover the culprit. However, things unexpectedly become personal when the investigation leads Sadie to some unwelcome truths about her own family heritage-truths that shed new light on the biggest tragedy in the library's history.

In 1938, the anthropologist Norman Tindale gave a classroom of young Aboriginal children a set of crayons and asked them to draw. The children, residents of the government-run Aboriginal station Cummeragunja, mostly drew pictures of aspects of white civilization boats, houses and flowers. What now to make of their artwork? Were the children ...