By Kathleen George
A homicide sends a baby into foster care and drags a detective right into a feverish hunt for justice
Nadal watches for weeks sooner than he first methods the boy. it doesn't matter what Maggie Brown says, he’s yes Matt is his son, and a boy may still understand his father. After their first disagreement, Maggie must have run. She must have hidden her baby. yet she underestimated the fellow who used to be her lover. With self-righteous decision, Nadal is going to her apartment. He calls for to spend time with the boy. whilst she refuses, he reaches for a knife.
By the time murder detective Richard Christie arrives at the scene, all that is still of Maggie Brown is a bloodstain at the flooring. The killer has vanished, and Matt is just too scared to recollect whatever yet his mother’s worry. As Christie seems to be for the killer and Maggie’s neighbors struggle to maintain Matt out of the palms of kid providers, Nadal watches the scoop and waits. A boy could be along with his father. He’s going to get his son.
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Additional info for A Measure of Blood (Richard Christie, Book 7)
And finally, if modernity is a woman passing by then a woman passing by will always remind us of a particular Baudelairean model of modernity. 32 By removing the crowd from the street of his poem – as Benjamin notes, “the crowd is nowhere named in either word or phrase” (1997, 124) – and lifting the veil that we may gaze directly onto the phantasmagoric city, Baudelaire places us readers in the position of the soon-to-be-traumatized. For intertextuality to be productively employed here, however, it is clearly not sufficient to talk in vague terms of a surprising nexus of texts all apparently drawing their inspiration from a common source.
Hopefully, if the shock is infectious enough, these texts of desire will, like Riffaterre’s obligatory intertext, conjure their fetishistic counterpart and present themselves as instances of knowledge, or, put simply, as the Truth. Chapter 2 Deciphering the Hieroglyphic in Frédéric Cathala’s L’Arbalète : La vraie vie commence Both Laura Mulvey (1996) and Emily Apter (1991) have drawn convincing parallels between Marx’s commodity fetishism and Freud’s psychoanalytic model. Apter begins her own study with Marx’s attempt to define the value of society’s products, which he refers to as “decipher[ing] the hieroglyphic”; this, for her, is “curiously compatible with Freud’s sense of the strangeness of fetish consciousness: a state of mind divided between the reality of noncastration and the fear of it all the same” (1991, 1).
5 The following description 4 Chambers (1999) uses this concept of haunting to introduce the idea of the urban subject manoeuvring in a space that reminds us of our past, that space as it was, while confronting us with a new set of existential conditions in the present. For Chambers walking in the city maps perfectly the act of engaging with text, which is also a double act (reading the words on the page in real time and understanding them in relation to preconceived ideas). He encourages us to read slowly and to cultivate belatedness, a way of getting out of step and thus of reaching a state of heightened, and objective, awareness of our place in time and space.