In he married Eleanor Alexander. Bloch died of esophageal cancer in His early crime novels The Scarf and The Kidnapper reflect his fascination with psychology and psychopathic behavior. He later revised The Scarf in order to tighten the ending and eliminate any sympathy the reader might have felt for the main character, a psychopathic killer. In his novel, Bloch brings together all the terrifying elements which have been present in his earlier works. Tony Perkins left played Norman Bates in the film version of Psycho. Psycho has become the model for psychological fiction.
The character of Norman has also become a model because he appears to be so normal.
In fact, until near the end of the novel, the reader does not know that Mrs. Bates is not, in fact, alive. The horror the reader feels when the truth is discovered causes the reader to rethink all previ- ous events in the novel. One of the most successful scenes in Psycho occurs when the detective, Mil- ton Arbogast, goes to the house to speak with Mrs. Bloch writes:. Getting ready. And all at once she came gliding out, wearing the nice dress with the ruffles. Her face was freshly powdered and rouged, she was pretty as a picture, and she smiled as she started down the stairs.
Before she was halfway down, the knocking came. It was happening, Mr. Arbogast was here; he wanted to call out and warn him, but something was stuck in his throat. Just a moment, now! And it was just a moment. Mother opened the door and Mr.
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Arbogast walked in. He looked at her and then he opened his mouth to say something. As he did so he raised his head, and that was all Mother had been waiting for. Mother had found his razor. The reader can clearly see from the above passage how convinced Norman is that his mother is indeed alive. It is also evident how skilled Bloch is at con- vincing his reader that a particular character is at least reasonably sane.
A sim- ilar situation occurs in Psycho II, in which Norman Bates escapes from the state mental hospital. Adam Claiborne, certain that Norman is alive, even after the van in which he escaped has been found burned, goes to California to at- tempt to find Norman. By all accounts, Norman is still alive and leaving evi- dence to support this theory.
In fact, Claiborne claims to see Norman in a gro- cery store. The reader is, however, shocked to learn at the end of the novel that Norman did indeed die in the van fire and that the killer is Dr. Claiborne himself. Again, the reader must rethink the events preceding the startling dis- closure. In none of his novels does Bloch rely on physical descriptions of characters to convey his messages.
For example, the reader knows relatively little about Norman Bates. He wears glasses, is overweight, and has a mother fixation, among other psychological problems. Before that, the reader, like the citizens of Fairvale, sees him as a little odd, even more so after the murder of Mary Crane, but the reader has no clue as to the extent of his problems until the end of the novel. They appear normal or near normal on the outside; it is what is inside them that makes them so dangerous.
After one has read sev- eral, one can almost always guess the ending. While the reader is not always correct, he is normally quite close to discovering who the criminal is. Since the publication of Psycho, Bloch has written a number of novels and short stories, as well as scripts for such series as Alfred Hitchcock Presents and Thriller. He has also written science-fiction novels and short stories. While Bloch writes in the style of H.
Lovecraft, his novels cannot be said to imitate those of Lovecraft. Lovecraft is known for gruesome tales guaran- teed to keep the reader awake until the wee hours of the morning if the reader is silly enough to read them in an empty house. Lovecraft gives the reader detailed accounts of the horrible ends of his charac- ters.
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In Night-World , Bloch simply tells the reader that a character has been decapitated and that his head has rolled halfway down an airport run- way. The nonchalant way in which Bloch makes this pronouncement has more impact on the reader than any number of bloody descriptions. Bloch terrifies the audience by writing about criminals who seem to be nor- mal people.
These are the people one sees every day. The crimes that these supposedly normal people commit and the gruesome ends to which they come have also become quite normal. Lunacies, ; The Devil With You! Schultz and S. Bibliography Bloch, Robert. New York: Tor, San Bernardino, Calif. Larson, Randall D. Mercer Island, Wash. Lovecraft, H. Selected Letters V, Edited by August Derleth and James Turner. Sauk City, Wis. Matheson, Richard and Ricia Mainhardt, eds.
Robert Bloch: Appreciations of the Master. Victoria E. Keller, When not working on an assignment, he spends his spare time joining various oddball political movements. His cases are favors for which he is paid. Guilt-ridden because he accidentally killed a young girl in a shoot-out, Scudder drowns his despair with alcohol and occasionally accepts a case in order to pay the rent. In his amusing capers, Bernie, who derives an emotional thrill from thievery, usually winds up in trouble when dead bodies appear in places he illegally en- ters. He then must play detective to clear himself.
He will kill to win his cases. Keller, an appealing, conscientious hired assassin who is a thorough professional, cool but not too cold to be on the constant lookout for a girl- friend. For a killer, he is an occasionally whimsical man prone to loneliness and self-doubt, the sort who worries what kind of present to give the woman who walks his dog. Regardless of the.
His characters are outsiders to conventional society, and Block captures their true essence through their first-person vernaculars. Further- more, his vivid and realistic descriptions of the deadbeats, the bag ladies, the pimps, the cops—both good and bad—and those hoping for something better portray New York City as a place devoid of glitter and elegance. In , he became an editor for the Scott Meredith literary agency, but left one year later to pursue a professional writing career.
In he married Loretta Ann Kallett, with whom he had three daughters. In he and his wife were divorced. Ten years later he married Lynne Wood. Fond of travel, they visited eighty-seven countries by the end of the twentieth century. Westlake—Sheldon Lord , which were released in paperback. In fact, for many years his novels were published as paperback originals. He is a multiple winner of nearly ev- ery major mystery award for his writing, including the Nero Wolfe, Shamus, Maltese Falcon, and Edgar Allan Poe awards.
He has served as a member of the board of directors of the Mystery Writers of America, which honored him with the title of Grand Master in , and as president of the Private Eye Writers of America. In he became associate editor of the Whitman Nu- mismatic Journal, a position which reflects his interest in and knowledge of coins. His desire to entertain his readers is evident in the many categories of mystery fiction that he has mastered. With each genre, Block utilizes a fresh approach to the protagonists, the plots, and the tone, and avoids relying on es- tablished formulas.
Bernie Rhodenbarr, the polished and sophisticated amateur sleuth, is actually a burglar for hire. Block is a master at creating the right tone for each series of mystery works. The Tanner novels are laced with wisecracks and screwball characters. Not only are the Rhodenbarr novels full of lighthearted comedy, but they also contain fascinating burglar lore such as how to deal with locks, alarms, and watchdogs. In sharp contrast, though, are the novels featuring Matt Scudder.
The stark, un- sentimental prose lends these books a serious, somber tone, as glib dialogue and flowery metaphors would only ruin the effect for which Block strives: to allow his readers to enter the mind of a man who is haunted by his guilt. Walking the thin line between law and lawless- ness, these men disregard the conforming demands of a complacent society. Bernie Rhodenbarr, for example, as a thief and an amateur sleuth, is a descen- dant of the outlaw of the Wild West or the gangster of the Roaring Twenties, both elevated to the status of folk heroes by the early dime novels and pulps.
Bernie is able to beat the system and get away with it. When someone needs something stolen, Bernie is more than happy to oblige—for a price. His profes- sion satisfies a secret desire that must be common to many readers, that of wanting something more exciting than the usual nine-to-five routine. Bernie is not, however, a completely amoral character.
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The woman is later murdered, and Bernie must discover who killed her in order to keep himself from being accused of the crime. With Bernie, Block adds a new twist on the role of the detective. Instead of being on a quest for justice or try- ing to make sense of the crimes of others, Bernie is motivated by more self- centered feelings. Like Philip Marlowe, Lew Archer, and a host of other de- tectives, Bernie is an outsider to the world through which he must travel on his investigation, but he is motivated by his need to save his own neck.
Scudder is an ex-cop who abandoned his roles as po- liceman, husband, and father after an incident that shattered his world. While in a bar one night after work, he witnessed two punks rob and kill the bar- tender. Scudder followed the two and shot them both, killing one and wound- ing the other. After resigning from the force and leaving his wife and two sons, Scudder moved into a hotel on Fifty-seventh Street in Manhattan to face his guilt in lonely isolation.
He suffers blackouts more frequently, and twice he is told to stop his drinking if he wants to live. In A Stab in the Dark , a female friend, a sculptress and fellow alcoholic, tries to make Matt confront his drinking, but he denies having a problem and says that a group such as Al- coholics Anonymous would not work for him. By the end of the book, the woman refuses to see Matt any longer, as she herself has decided to seek help.
Eight Million Ways to Die is the turning point in the Scudder series. It is a superior novel for its social relevance and psychological insights into the mind of an alcoholic. In this book, Matt has made the first steps toward con- fronting his alcoholism by attending regular meetings of Alcoholics Anony- mous. He is hired by a prostitute, Kim Dakkinen, who wants to leave her pimp in order to start a new life. Afraid that the pimp, Chance, will talk her out of her plans or hurt her, Kim wants Matt to act as a go-between with Chance.
For a while. Each day without a drink is a minor victory, but his mind is obsessed with the need for a drink. Usually he sits off to the side or in the back, lis- tening with cynical disdain to the qualifications of the many problem drink- ers. To him, their saccharine-sweet tales of hope sound absurd in contrast with the brutal fate suffered by Kim. Not only is Scudder an outsider to his fellow drinkers; he is an outsider as well to those hoping for a life free of alcohol.
He can admit to himself that he has a problem but is unable to do so in public. He needs the help the support group can give, but he wants to tackle the problem alone. This conflict between appearance and reality recurs throughout the novel. Scudder appears to be handling his period of drying out, but in reality he is afraid to leave the bottle behind and fearful of the future. With Chance, Block has created a man who longs for power and who must lead a double life in order to maintain it. He lives in a quiet neighborhood, pretending to be the faithful manservant of a nonexistent, wealthy retired doc- tor, so as not to arouse suspicion from his neighbors.
He appears to care for his prostitutes, support them financially, and encourage them to follow their dreams. In reality, though, Chance demands complete loyalty from his girls. He uses them for his own financial gain and need for power. Coming from a middle-class background, he studied art history in college.
When his father died, however, he left school, enlisted in the military, and was sent to Viet- nam. When he returned, he became a pimp and created a new identity, that of Chance. In the end, however, he is left with nothing. The world that Block depicts in Eight Million Ways to Die is precariously bal- anced on the edge between appearance and reality, hope and despair, life and death. One dreams of being an actress, an- other, of being a poet. There is hope that they will leave their present profes- sions and pursue these dreams, but underneath there is the impression that they will never do so.
Another perspective is furnished by the stories of hope told by the mem- bers of Alcoholics Anonymous. Each alcoholic who publicly admits his prob- lem tells of a past life full of despair. These stories are contrasted with the tales of modern urban horror that Matt reads in the newspapers. In one case, Matt hears about an elderly woman who was killed when her friend found an aban- doned television and brought it to her house; when he turned on the televi- sion, it exploded. A bomb had been rigged inside, probably as part of a mob execution attempt that failed when the target grew suspicious and discarded the television.
The ways that people die are just as nu- merous as the body counts. You got eight million ways to die. In the end, he realizes the seriousness of his alcohol addiction and his desperate need for help, even if it comes only one day at a time. Keller: Hit List, Bibliography Baker, Robert A. Block, Lawrence, and Ernie Bulow. After Hours: Conversations with Lawrence Block.
Albuquerque: University of New Mexico Press, Geherin, David. New York: Fred- erick Ungar, Arlington Heights, Illinois: Dark Harvest, McAleer, John. Woodstock, Vt. Meyer, Adam. Pronzini, Bill, and Marcia Muller, eds. New York: Arbor House, Scott, Art. He has a sharp, analytical mind and is attracted to young, not-too-bright women. He is a heavy smoker and a recreational drinker. He is around thirty, tall, handsome, single, and intelligent, but he always has the help of an amateur sleuth in solving his mur- der cases.
Tall, handsome, and happily married, he is a closet intellectual. He can be seen as a married version of Lieutenant A. The five novels he published under the Boucher pseudonym and two others under the name H. Holmes were typical of one branch of the field at the time: intellectually frothy entertainments offering several hours of pleasant diver- sion. The murders were antiseptic affairs usually solved in the end by an engaging deductionist. The characters or suspects were often intriguing but always only superficially developed.
The settings were poten- tially interesting but somehow unconvincing. Boucher was much more important to the field as a critic and as an editor than as a writer. As an editor, he had a penchant for extracting the best from the contributors to the journals and anthologies which he oversaw. His maternal grandfather was a lawyer and a superior court judge, and his paternal grandfather was a captain in the United States Navy. Despite being an invalid during most of his teenage years, Boucher was graduated from Pasadena High School in and from Pasadena Junior College in He spent most of his time outside classes at USC in acting, writing, and directing for little theater.
Boucher was graduated from USC in with a bachelor of arts and an un- dergraduate record sufficient for election to Phi Beta Kappa and the offer of a graduate scholarship from the University of California at Berkeley. When his plays failed to sell, he tried his hand at mystery writing and sold his first novel to Si- mon and Schuster in it was published the following year. During the same period, Duell, Sloan and Pearce published two of his novels under the pen name of H.
During this phase of his career, Boucher married Phyllis Mary Price, a li- brarian, in During the remainder of his ca- reer, Boucher edited several periodicals in both the mystery and science- fiction fields, including True Crime Detective and The Magazine of Fantasy and Science Fiction He also edited many anthologies in both fields, wrote radio scripts for mystery shows, and had several book re- view columns. Boucher died in his home in Berkeley, California, on April 24, Anthony Boucher All five novels published under the Boucher pseudonym and those published as H.
Holmes between and are well-constructed murder- detection puzzles featuring a deductionist hero or heroine and often a locked- room theme. The characters in his novels are not well developed, are almost exclusively Caucasian with bourgeois attitudes and goals, and are always sec- ondary to the puzzle and its solution. Only rarely do the novels mention the so- cial and political issues of the period during which they were written, and they offer no particular insights into the several potentially interesting subcultures in which they are set.
Set on the Berkeley campus of the University of California, The Case of the Seven of Calvary introduces several promising characters whose person- alities prove to be disappointingly bland. Still, the novel is well plotted, the deductionist a professor of Sanskrit sufficiently Sherlockian, and the clues abundant enough to make the puzzle enjoyable. Boucher was heavily influenced by Arthur Conan Doyle and fascinated by Sherlock Holmes, as demonstrated in all of his novels, but particularly in the third, The Case of the Baker Street Irregulars Again, Boucher introduces a cast of initially fascinating but ultimately flaccid characters, most of them members of an informal Holmes fan club a real organization of which Boucher was a member.
Again the plot is clever, this time revolving around various Doyle accounts of the adventures of the Sage of Baker Street. The hoped-for insights into the subculture in which the novel is set—in this case, the film industry in Hollywood—are again absent. Boucher does have his char- acters make several innocuous political observations, vaguely New Dealish and more or less anti-Fascist, but one of the primary characters, a Nazi spy, comes off as a misguided idealist and a basically nice fellow.
Jackson his first name is never given. Once again, Boucher sets the action of the novel against a backdrop of the little-theater movement, the actual workings of which are largely unexplored in the novel. Boucher created a potentially more engaging but characteristically incom- plete deductionist, Sister Ursula, in two novels published under the pseud- onym H. Cambell, Robert Heinlein, and L. Ron Hubbard.
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The plot revolves around another locked room and is amusingly complicated and pleasantly diverting. The novel contains the obligatory spoiled rich girl, several conversations mildly critical of the socioeconomic status quo, and several comments mildly la- menting the imminent outbreak of war. They are amusing escapist works of no particular literary merit.
Boucher, an only child from a comfort- able middle-class background, did not have the worldly experience of a Dashiell Hammett. Thus, his characters were portrayed in a narrow world in which ugliness, if it existed at all, derived from character flaws, not from social realities. He did not possess the poetic insight into the human condition of a Ross Macdonald or a Raymond Chandler, so his characters lack depth, and the situations which he created for them are generally unconvincing.
Boucher was much more successful in his short stories, in which character- ization is less important than in novels. As an editor, he excelled, creating The Magazine of Fantasy and Science Fiction and turning it into one of the first literate journals in that field. He brought the same skills to True Crime Detective, which he edited from to As a critic and an editor, he was gen- tle, humorous, and always compassionate, and he was usually able to provoke the best efforts of those whose work he assessed.
Bibliography Nevins, Francis M. Nevins, Jr. Carbondale: Southern Illinois Uni- versity Press, Sallis, James. Spencer, David G. White, Phyllis, and Lawrence White. Boucher, A Family Portrait. Berkeley, Ca- lif. A perceptive judge of character, he sympathizes with hu- man weakness, though he is indefatigable in his search for truth. Indeed, H. Keating called it the finest novel of the Golden Age of mystery fiction. Her de- tective fiction illustrates the dictum of G. Hegel that a change in quantity may become transformed into a change in quality.
The standard British mys- tery emphasized complex plotting in which the reader was challenged to deci- pher the clues to the perpetrator of the crime. Few readers proved able to match wits with her Inspector Cockrill, and, if he was not pres- ent, she had other ways to fool the audience.
Also, many of her books show an irrepressible humor which she carried to much further lengths than most of her contemporaries. She was sent to England in order to attend a Franciscan convent school in Somerset, an area of England known for its beauty. Her happiness at school received a rude upset when her father lost all of his money; Mary had to begin earning her own living at the age of seventeen.
She went through a rapid succession of ill-paid jobs, mostly in sales, but also in modeling, professional ballroom dancing, receptionist and secretarial work, shop assistant work, interior design, and governess work. At one point, she opened a club for working girls in a slum section of London. Her financial prospects took a turn for the better when she met and fell in love with a young surgeon, Roland Lewis, whom she married in Before her marriage, she had already begun to write. Her decision to try de- tective stories had behind it no previous experience in fiction writing.
It is said that she wrote her first book, Death in High Heels, , while working as a salesgirl, as a way to fantasize about killing a coworker. She nevertheless was soon a success, and her second novel won a prize of one thousand dollars of- fered by Dodd, Mead and Company for its prestigious Red Badge series. Her early success proved to be no fluke; by the time of the publication of Green for Danger , she had come to be generally regarded as one of the most im- portant mystery writers of her time.
Brand once more did the unexpected by ceasing to write mystery novels according to her hitherto successful recipe. Instead, she turned to short sto- ries. After the appearance of Starrbelow , she did not write another mys- tery novel for ten years. Her writing career, however, was by no means over. She had in the meantime tried her hand at several other varieties of fiction, in- cluding historical romances and screenplays. Although she never achieved the renown for these which her mysteries had brought her, her Nurse Matilda series of novels for children gained wide popularity.
She died on March 11, , in the arms of her husband of fifty years, Roland Lewis. Her readers, once forewarned, will be expecting deception and hence will be on their guard. Nevertheless, Brand managed to pull off one surprise after another in each of her most famous mysteries. In her stress on bafflement, she was hardly origi- nal, but the seemingly impossible culprits she produced made her achieve- ment in this area virtually unequaled.
There is much more to Brand than surprise. There is almost always in her work a romance, an idealistic love affair whose sexual elements are minimal. In her work, heroines at once fall in love with the man whom they will eventu- ally marry, although only after overcoming numerous obstacles. Rather, it is yet another manifes- tation of her unusually pronounced sense of humor. Brand, whatever one may think of her, is certainly no unalloyed optimist. Often, her characters must realize a bitter truth about close friends.
In Green for Danger, for example, the overriding ambition of many of the nurses makes them petty and nasty. Here, the element of romance often reappears, although this time more somberly. All of this, further, is overlaid with a veneer of humor, making up in high spirits for what it lacks in sophistication. She managed, however, to put all the diverse pieces to- gether in an effective way, as a closer look at Green for Danger illustrates.
In this work, sometimes regarded as her best, a patient in a military hospital for bombing victims dies on the operating table. It soon develops, however, that more than ac- cident is involved. Testimony of several student nurses who were present at the scene shows indisputably that foul play has occurred. The murderer can only have been one of the seven people present in the operating room theater, but not even the ingenious probing of Inspector Cockrill suffices to reveal the culprit. Still, the inspector is far from giving up.
He devises a characteristically subtle plan to trap the murderer into at- tempting another killing during surgery. His plan almost backfires, as the cul- prit possesses an ingenuity that, however twisted by malign ambition, almost matches that of Cockrill himself. When the method of the murderer at last is revealed, even the experienced mystery reader will be forced to gasp in astonishment.
Although dominant in Green for Danger, this element of surprise does not stand alone. A young nurse who has aroused suspicion is the person responsible for bringing Cockrill into the case. She is in love with a young doctor; although her romantic feelings do not receive detailed attention, they are unmistakably present. Although the reader will hardly take this nurse seriously as a suspect, since otherwise the ro- mance would face utter ruin, this fact provides little or no aid in stealing a march on Cockrill.
Romance and murder are a familiar combination; to join humor with them is not so common. Brand does so by means of amusing descriptions of the petty rivalries and disputes among the nurses and other members of the hospi- tal staff. Her contention was based on personal experience. Before her marriage, she felt an enormous dislike for one of her fellow workers.
This animosity, she conjectured, was of the sort that might easily lead to murder. It was this expe- rience that colored her development of the motivation of her murderers and added a starkly realistic touch to her romantic and humorous tendencies. In Fog of Doubt ; first published as London Particular , she again startles the reader.
This time she does so by withholding until the last line of the book the method of the mur- derer in gaining access to a house he seemingly had no opportunity to reach. So subtly presented is the vital fact, however, that almost every reader will pass it by without a sec- ond glance. Again characteristically for Brand, true love eventually triumphs, and the culprit is the victim of an uncontrollable and un- requited passion for another of the principal characters.
Green for Danger stresses surprise, Fog of Doubt, romance.
The story is set on an imaginary island in the Mediterranean, near a re- sort where a number of English tourists have gone for vacation. Among them is the now-retired Cockrill, as well as his sister, Henrietta. A murder quickly arouses the local gendarmerie to feverish but ineffective activity. Their bur- lesque of genuine detection, consisting of an attempt to pin the blame on one tourist after another until each possibility is disproved, does not even exempt Cockrill. His efforts to solve the case are foiled at every turn by police bum- bling.
Firmly behind the police is the local despot, who threatens the tourists with dire penalties unless he at once receives a confession. The dungeon on the is- land is evidently of medieval vintage, and the petty satrap whose word is law on the island regards this prison as a major attraction of his regime. Here, for once, surprise, though certainly present, does not have its cus- tomary spectacular character.
Instead, the reader receives a series of lesser shocks, as one person after another seems without a doubt to be guilty, only to be replaced by yet another certain criminal. Cockrill eventually discloses the truth with his usual panache. Here the reader knows the identity of the criminal, and the inter- est lies in following the efforts of the detective to discover him.
This technique poses a severe test to a writer such as Brand who values suspense. Brand believed that there could, and one can see from the popularity of her stories that many readers agreed with her. It is, how- ever, a serviceable instrument, both clear and vigorous. She tends to empha- size, more than most detective story authors, long descriptive passages of scenery. In her depiction of the imaginary island in Tour de Force, she captures with great skill the atmosphere of several Mediterranean islands favored by British tourists. A reason for the popularity of Green for Danger lies in its stylis- tically apt portrayal of the loneliness of women whose husbands and boy- friends had gone to fight in World War II.
Here she once more relied on per- sonal experience, for her own husband was away on military service for much of the war. In writing of love, she had no interest in depicting sexual encounters in detail, or even in acknowledging their exis- tence.
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Sex, along with obscene language, is absent from her books; these could only interfere with the unreal but captivating atmosphere she endeav- ored to portray. To this generalization there is, however, a significant exception. The Honey Harlot is a novel of sexual obsession; here, the approach to love differs quite sharply from that of her more famous mysteries. Her characteristic work does not lie in this direction, and this novel has so far not been followed by one of similar type.
To sum up, Brand carried some of the elements of the classic British detec- tive story—in particular surprise, romance, and humor—to extremes. In doing so, she established a secure place for herself as an important contributor to the mystery field. Lipscomb and Francis Cowdry ; Secret People, with others. Bibliography Barnard, Robert. Brand, Christianna. Boston: Little, Brown, Briney, Robert E. To- panga, Calif. Symons, Julian, ed.
The Hundred Best Crime Stories. London: The Sunday Times, He succeeds by sheer pluck and common sense, his own and that of the boys he informally adopts. While he is always willing to accept challenges, he is less keen than Hannay to seek out adventure and danger. Rider Haggard or P.
Wren than to true detective or espionage fiction. His childhood was formed by the Border country landscape, wide read- ing, and religion; these influences also shaped his later life. He won a scholarship to Glasgow University, where he was soon recognized as a leader and a fine writer. Continuing his studies at the University of Oxford, he sup- ported himself with journalism.
With writing as his vocation, Buchan devised. After completing his studies, Buchan accepted a government position in South Africa, an opportunity which allowed him to fulfill his desire for exotic travel. Though he did not lack the prejudices of his era, Africa became a be- loved place to Buchan and was the setting of several of his fictions, including Prester John Upon returning to England, Buchan continued a double ca- reer as a barrister and as an editor for The Spectator, a leading periodical. His marriage in caused him to work even harder to ensure adequate finances for his wife and for his mother, sisters, and brothers.
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Peter Robinson. The Way of All Flesh. Book Description Brilliance Audio. Condition: New. Seller Inventory Language: English. Brand New Book. The vicious murder is a case for Eugene s Violent Crimes Division, but the more Detective Wade Jackson and his homicide team probe into the death of Rafel Mazari--an Iraq War veteran with disturbing secrets--the more it appears that one crime s victim may be the other s perpetrator.
While there s damning evidence that Mazari died at the hands of his cheating wife, a phantom internet veterans charity--the same one that wiped out the heart attack victim s bank account--keeps cropping up at every turn of Jackson s investigation. And when Mazari s best friend turns up murdered in identical fashion, Jackson suspects a motive that s deeper, darker, and more devastating than broken vows and love turned lethal. Seller Inventory BRI This book usually ship within business days and we will endeavor to dispatch orders quicker than this where possible.
Seller Inventory BTE Seller Inventory M Condition: Brand New. In Stock. Seller Inventory zk Seller Inventory XM Never used!.