This set includes the first two books in the Hamish Macbeth cozy mystery series set in the Scottish Highlands. Death of a Gossip: When society widow and gossip columnist Lady Jane Winters joined the fishing class, she wasted no time in ruffling the feathers—or was it the fins?—of those around her. Death of a Cad: When Priscilla Halburton-Smythe brings her London playwright fiancé home to Lochdubh, everybody in town is delighted…except for love-smitten Constable Hamish Macbeth. Yet his affairs of the heart will have to wait.

There’s a literary niche for all tastes including those who think that either Agatha Christie wasn’t funny enough or that PG Wodehouse didn’t feature anywhere near as many baffling murders as he could have. The Case of the Canterfell Codicil is a classic, cozy, locked-room mystery written in the style of an homage to PG Wodehouse.

For a generous commission, ex-prizewinning jockey Jonah Dereham reluctantly agrees to bid on a young steeplechaser on behalf of a wealthy American woman. But his life is thrust into danger immediately following the auction, when he receives a blow to the head by two thugs demanding ownership of the horse.

Mma "Precious" Ramotswe sets up a detective agency in Botswana on the edge of the Kalahari Desert, making her the only female detective in the country. At first, cases are hard to come by. But eventually, troubled people come to Precious with a variety of concerns. Potentially philandering husbands, seemingly schizophrenic doctors, and a missing boy who may have been killed by witch doctors all compel Precious to roam about in her tiny van, searching for clues.

Homicide is always an abomination, but there is something exceptionally disturbing about the victim discovered in a high, lonely place: a corpse with a mouth full of sand, abandoned at a crime scene seemingly devoid of tracks or useful clues. Though it goes against his better judgment, Navajo tribal police lieutenant Joe Leaphorn cannot help but suspect the hand of a supernatural killer.

Sharply observant and wickedly funny, E.F. Benson's six Mapp and Lucia novels satirize the upper-middle-class social climbers in 1920s and '30s rural England. Games of bridge and cups of tea fuel hilarious gossip and vindictive plots a-plenty. It is a masterfully sustained spotlight on the minutiae of village life - a clever and ultimately heart-warming series that seems tailor-made for audio. Volume 1 contains the first three books.

Whose Body? first introduced Lord Peter to the world and begins with a corpse in the bath of a London flat. Clouds of Witness finds Wimsey investigating murder close to home, and in Unnatural Death he investigates the suspicious demise of an elderly woman. First broadcast on BBC radio in the 1970s and presented here in their entirety, these full-cast adaptations are admired by fans of the genre worldwide.

Eventually Dona lands in remote Navron, looking for peace of mind in its solitary woods and hidden creeks. She finds the passion her spirit craves in the love of a daring French pirate who is being hunted by all of Cornwall. Together, they embark upon a quest rife with danger and glory, one which bestows upon Dona the ultimate choice: sacrifice her lover to certain death or risk her own life to save him

When sensible, sophisticated Flora Poste is orphaned at 19, she decides her only choice is to descend upon relatives in deepest Sussex. At the aptly named Cold Comfort Farm, she meets the doomed Starkadders: cousin Judith, heaving with remorse for unspoken wickedness; Amos, preaching fire and damnation; their sons, lustful Seth and despairing Reuben; child of nature Elfine; and crazed old Aunt Ada Doom, who has kept to her bedroom for the last 20 years. But Flora loves nothing better than to organise other people.

In 1889, satirist Jerome K. Jerome fully intended to write a serious travel guide when he and his two best friends embarked on a boating trip up the river Thames to Oxford. But his musings on landmarks and local history were soon hijacked by his own digressive, waggish voice. And so, what began as a peaceful and edifying two-week exploration soon floated upriver into farce - aided, quite naturally, by a portly ration of cheese, some very bad weather, and a dog named Montmorency.

Jacob's Room was the first of Virginia Woolf's novels to be published by the Hogarth Press, founded with her husband, Leonard Woolf, in their home at Hogarth House in Richmond in 1917. It is an episodic tale that attempts to evoke the inner life of Jacob Flanders and his social milieu during the first decade-and-a-half of the 20th century.

Willa Cather renders the tough inner terrain of a man in mid-life crisis. Bartley Alexander is a master bridge engineer. At 43 he is at the height of his power, comfortable with success and all it brings. Yet he yearns for the lost vibrancy of his youth. He leads a double life, veering between his beautiful, accomplished wife and his mistress, an actress he knew as a student in Paris. The conflict creates a crack in the structure of his life that ultimately undermines him.

The story of young Tom Brown's seemingly hideous years spent at rugby school and his spirited and astonishingly stalwart response to the institutionalised bullying prevalent at the 'Great' British public schools became exactly the campaigning tool its author hoped it would. The regimes at these schools had been largely unchallenged, with the assumption being that the education and training received were the best.

Under the Greenwood Tree is an affectionate and youthful portrait of a world Hardy knew well - village life in 'Wessex' - in which a romantic tale is set against changing circumstances. The traditional feature of local music making performed by the village band and choir is challenged by the modern innovation of organ and organist providing music in the church.

Jacob’s Room is Virginia Woolf’s own modernist manifesto. Jacob Flanders is a mere point of contact between a crowd of people, appearing and disappearing in a tableau in which all is flux, without certainty and without a controlling viewpoint. But it seems that the author could not maintain this rigorous impersonality, and the radical technique breaks down, so that we finally see Jacob as a person, just as his world is blown apart.