Black Jasmine (Lei Crime, Book 3) by Toby Neal

By Toby Neal

“Toby Neal's tales have a continuing, charged power that heats up each page.” Holly Robinson, writer of sound asleep Tigers

"The island of Maui is turquoise ocean, beautiful vistas, and whalesong—but prepared crime has a hidden carry, and Detective Lei Texeira tracks evil that hides at the back of a gorgeous face.

When a anonymous teenage lady dies in an obvious vehicular suicide, Lei can’t relaxation until eventually she unearths out what particularly occurred. She blazes via all of the wealth and poverty of Maui island society in her quest for justice, rousing a perilous foe—even as she faces the private demons of dedication and revenge that threaten the only love she’s ever known."


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Additional resources for Black Jasmine (Lei Crime, Book 3)

Sample text

Now that Dickens has secured a place (as far as these things are ever secure) in the English literary canon as the Shakespeare of the novel, it is salutary to recall that his novels were first written in response to, and reviewed (and sometimes dismissed) in terms of, the literary fashions of their day. 23 Similarly, Oliver Twist was read as a Newgate novel, and became caught up in (indeed was one of provocations of) the renewed Newgate controversy in the early 1840s. Dickens’s writing career is, of course, a prime example of the novel’s close association with crime.

35 These ranged from notorious murder trials such as 32 The Newgate novel and sensation fiction, 1830–1868 the Road Murder (1860), in which the sixteen-year-old Constance Kent was acquitted of the bloody murder of her four-year-old brother, and the 1857 trial of Madeline Smith, who was accused of killing her lover by putting arsenic in his cocoa, to the Yelverton bigamy-divorce trial which drew attention to marital irregularities and the chaotic state of the marriage laws. The changing state of upper and middle-class marriage was also highlighted by the reporting of the proceedings of the new Divorce Court, created after the passing of the Matrimonial Causes Act of 1857.

The sensation novel did not depict the criminal underworld, but rather it explored the dark underside of respectable society: the family is the locus of crime, and the secrets of the family are responsible for most of the plot complications, and in most cases crime and punishment circulates entirely within the family. Although the law court was the source of many sensation plots, sensation novels do not end in the courtroom or the prison. Crime is dealt with in and by the family. For example, in The Woman in White Walter Hartright and his sister-in-law, Marian Halcombe have to become detectives in order to right various wrongs without the formal assistance of the law, which is ‘still .

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