Domina
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- 4,49 €
Beschreibung des Verlags
In this riveting sequel to the instant New York Times bestseller, Maestra, femme fatale Judith Rashleigh once again leads readers into the mesmerizing and dangerous underworld of Europe’s glamorous elite.
Since opening her own art gallery in Venice, Judith Rashleigh—now Elisabeth Teerlinc—can finally stop running. She’s got the paycheck, lifestyle, and wardrobe she always dreamed of, not to mention the interest of a Russian billionaire. But when a chance encounter in Ibiza leads to a corpse that is, for once, not her own doing, she finds her life is back on the line—and she’s more alone than ever. It seems Judith’s become involved with more than just one stolen painting, and there is someone else willing to kill for what’s theirs.
From St. Moritz to Serbia, Judith again finds herself maneuvering the strange landscapes of wealth, but this time there’s far more than her reputation at stake. How far will Rage take Judith? Far enough to escape death?
The second installment in an unforgettable trilogy, Domina is the next sexy, ruthless, and decadent thriller from mastermind L. S. Hilton, and an adventure that will push Judith further than even she imagined she could go.
PUBLISHERS WEEKLY
Much of the thrill is gone for fierce femme fatale Judith Rashleigh, as well as readers, in bestseller Hilton's disappointing sequel to 2016's Maestra. Judith has triumphantly morphed from a London art auction house lackey to glamorous Venice gallery owner Elisabeth Teerlinc with several dead bodies along the way and is poised to savor the fruits of her felonious behavior. But a series of mysterious break-ins escalating to the murder of her Russian teacher, Masha, the closest thing to a friend she has, convinces the seductive schemer that she's far from home free, and it may take every shred of cunning she possesses to survive. Puzzling out who might be gunning for her plunges Judith into a high-stakes art-for-arms scam apparently involving ruthless Russian oligarch Pavel Yermolov, Serbian war criminal Dejan Raznatovic, and a (probably) fake Caravaggio. Though Hilton hasn't lost her gift for climactic set-pieces, particularly the blood-soaked pair that bookend the novel, too much of the extended cat-and-mouse maneuvering in between remains overly convoluted and less than satisfying.
