Katherine Stansfield verwebt in ihren Werken Geschichte mit Mystery und Folklore. Ihre Kriminalromanserie, die im Cornwall des 19. Jahrhunderts angesiedelt ist, stellt ein unkonventionelles Ermittlerduo in den Mittelpunkt, das Verbrechen aufklärt, die von realen Ereignissen und lokalen Legenden inspiriert sind. Ihr einzigartiger Stil wird oft als eine Mischung aus Sherlock Holmes, Akte X und Daphne du Maurier beschrieben. Unter dem Pseudonym DK Fields erforscht sie gemeinsam mit David Towsey auch die politische Fantasy.
This collection features a series of short stories that blend the bizarre and unsettling, reminiscent of classic penny dreadfuls. Each tale is crafted to evoke feelings of discomfort and creepiness, all while delivering a dose of terror. The modern twist adds a fresh perspective to the genre, making it a captivating read for those who enjoy the strange and macabre.
In her second collection, We Could Be Anywhere by Now, Katherine Stansfield brings us poems about placement and displacement full of both wry comedy and uneasy tension. Stints in Wales, Italy and Canada, plus return trips to her native Cornwall all spark poems delighting in the off-key, the overheard, the comedy and pathos of everyday life.
Cornwall 1845. What caused the death of a tattooed stranger found on Morwenstow beach clutching a key? Is he a victim of deliberate wrecking, lured by false lights? Or are tales of savage mermaids true?
Jamaica Inn, 1844: the talk is of witches. A boy has vanished in the woods of Trethevy on the North Cornish coast, and a reward is offered for his return. Shilly has had enough of such dark doings, but her new companion, the woman who calls herself Anna Drake, insists they investigate.
Cornwall, 1844. On a lonely moorland farm not far from Jamaica Inn, farmhand Shilly finds love in the arms of Charlotte Dymond. When she's found on the moor with her throat cut, Shilly is determined to find out who is responsible, and so is the stranger calling himself Mr Williams who asks for Shilly's help.