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Mosey Frye, real estate agent and amateur sleuth, comes upon a corpse in the garage at Sunny Banks, the home of local towboat magnate Martin Eldridge. Hembree police chief Lieutenant Gus Olivera tracks a lead on a man who tried to extort money from the Captain Jack crew, claiming they were intoxicated on the night of a fatal collision. But Mosey, ever inquisitive, sets her sights on the Eldridges’ distant past and ultimately reveals a more devious plot to destroy the elderly riverman’s legacy and take control of his company.
This goal allies her with poets from Spain's symbolist past, who acknowledge the insufficiency of language yet pursue elusive meaning. Canelo's poetry advances their struggle, since, through a method ecofeminist Carol Bigwood has called "nonlinguistic silent presencing," she is able to finesse an apparent fusion between nature and the word."--Jacket.
This masterful translation of a recent Bolivian novel, En el pais del silencio, transports us to a mysterious, silent, and unfamiliar land where astonishing truths are placed within our grasp. Like a parabola, this amazing story begins and ends in the same place on the same day in the life of a single persona with three interior entities: Jursafú, The Other, and The Dead Man. By portraying them as separate, Urzagasti accentuates their interrelatedness, for one character cannot grow without the others, nor can any one of them move toward an ultimate goal without the experience and knowledge of the other two. The author’s mature and thoroughly Bolivian style is marked by a synthesis of poetic and novelistic techniques which blend perfectly the indigenous and European voices of his ancestral home.
When Mosey Frye, real estate agent and amateur sleuth, hunts for a summer house on the grounds of an abandoned plantation, she finds not only the house but also skeletal remains at the bottom of an old cistern. That same day, news of the horrific stabbing death of an eremitic nun leaves the citizens of Hembree in hang-jawed shock. Given that the tumble-down estate belonged to the dead nun’s family, Mosey insists there must be a connection between the two events. But Police Chief Gus Olivera, predisposed against Mosey and the Church, scrambles to find a suspect among members of the clergy. Will Olivera solve one on his own? Or will his hopes be dashed when Mosey, once again, drops the clue that points to the killer?
Murder at Waite House When realtor and sleuth Mosey Frye lists a stigmatized property, solving the murder outshines making the sale. But in a little Delta town, good luck getting the Police Chief to pay you any mind—specially if you're a long-legged, rosy-cheeked blonde. The Terrace Lured by a ripped photograph of members of the local gentry, Mosey visits the grounds of an abandoned mansion, where, on the once stunning terrace, now fallen into ruin, she uncovers a dark past, the chilling murder of a lovely young socialite. House with a Corner Door As a guest at an old Western hotel, Mosey Frye finds herself within striking range of a killer who targets women realtors by pressing poisonous bulbs into their mouths. Out of her usual element, can Mosey adapt and help the local sheriff track down the murderous lunatic before he kills again?
In Pursuit of Poem Shadows: Pureza Canelo's Second Poetics deciphers the intricate poetic language of Pureza Canelo (Spain, 1946) through a close analysis of her mature works. Designed to complement Nature's Colloquy with the Word (Bucknell, 2004), the current text traces concerns related to the poet's second stage of evolvement. In contextualizing the poet's work, Pritchett discovers commonalities with Romantic, Modernist, and creacionista poets. Canelo's insights, moreover, display a resemblance to Heidegger's thought on time, being, and poetry, Lacan's ideas on experience and language, and 3iyek's view of the subject's relationship to the object.
Profane Challenge and Orthodox Response in Dostoevsky’s Crime and Punishment presents for the first time an examination of this great novel as a work aimed at winning back “target readers”, young contemporary radicals, from Utilitarianism, nihilism, and Utopian Socialism. Dostoevsky framed the battle in the context of the Orthodox Church and oral tradition versus the West. He relied on knowledge of the Gospels as text received orally, forcing readers to react emotionally, not rationally, and thus undermining the very basis of his opponents’ arguments. Dostoevsky saves Raskol’nikov, underscoring the inadequacy of rational thought and reminding his readers of a heritage discarded at their peril. This volume should be of special interest to secondary and university students, as well as to readers interested in literature, particularly, in Russian literature, and Dostoevsky.
Editor Sandra Reyes has gathered a panoramic sampling of the work of twenty-three poets and eighteen fiction writers. Focusing predominantly on living practicing writers this anthology defines the current literary voice of Bolivia and gives us a distillation of the contemporary Bolivian consciousness.
Springs and Autumns is a compelling novel that chronicles, through the voices of several family members, the intriguing history of an extended Majorcan family. The novel is set in Orlandis (a fictional version of Porcel's hometown) on the island of Majorca. Even though the novel rises from this specific, exotic island setting, Springs and Autumns ultimately appeals to universal human emotions. Although the entire novel takes place as the family gathers at Taltavull Hall for a Christmas Eve dinner, the reader is conveyed to places as far away as South America and Asia, learning along the way about murder, love, rape, incest, travel, discovery, regret, and forgiveness.
A collection of writings on the environmental crisis of the Southwestern forests, by historians specializing in either the environment or the Southwest, criticicing forest management practices devoted to exploiting the forest for timber, grazing, and recreation, with insufficient regard for ecological balance.