Welcome to Blackwood Farm: soaring white columns, spacious drawing rooms, bright, sun-drenched gardens, and a dark strip of the dense Sugar Devil Swamp. This is the world of Quinn Blackwood, a brilliant young man haunted since birth by a mysterious doppelganger, "Goblin," a spirit from a dream world that Quinn can't escape and that prevents him from belonging anywhere. When Quinn is made a Vampire, losing all that is rightfully his and gaining an unwanted immortality, his doppelganger becomes even more vampiric and terrifying than Quinn himself.
FBI agent Jessica Blackwood believes she's left her complicated life as a gifted magician behind her - until a killer with seemingly supernatural powers puts her talents to the ultimate test.
In the late summer of a long-ago year, a killer arrived in a small city. His name was Alton Turner Blackwood, and in the space of a few months he brutally murdered four families. His savage spree ended only when he himself was killed by the last survivor of the last family, a 14-year-old boy. Half a continent away and two decades later, someone is murdering families again, re-creating in detail Blackwood's crimes. Homicide detective John Calvino is certain that his own family - his wife and three children - will be targets in the fourth crime, just as his parents and sisters were victims on that distant night when he was 14 and killed their slayer.
The House of Blackwood - Author - Publisher Relations in the Victorian Era
The Scottish publishing firm of William Blackwood & Sons, founded in 1804, was a major force in nineteenth- and early twentieth-century British literary history, publishing a diverse group of important authors -- including George Eliot, John Galt, Thomas de Quincey, Margaret Oliphant, Anthony Trollope, Joseph Conrad, and John Buchan, among many others -- in book form and in its monthly Blackwood's Magazine. In The House of Blackwood, David Finkelstein exposes for the first time the successes and failures of this onetime publishing powerhouse.
