By Ray Bradbury
April 2013 e-book - Retail ePub
Ray Bradbury, the undisputed Dean of yank storytelling, dips his comprehensive pen into the cryptic inkwell of noir and creates a classy and just a little fantastical story of mayhem and homicide set one of the shadows and the murky canals of Venice, California, within the early 1950s.Toiling away amid the looming palm timber and decaying bungalows, a suffering younger author (who bears a resemblance to the writer) spins awesome tales from his fertile mind's eye upon his clacking typewriter. attempting to not pass over his female friend (away learning in Mexico), the anonymous author gradually crafts his literary effort--until unusual issues start taking place round him.Starting with a sequence of surprising cellphone calls, the author then unearths clumps of seaweed on his doorstep. yet because the incidents improve, his acquaintances fall sufferer to a sequence of mysterious "accidents"--some of them deadly. Aided by way of Elmo Crumley, a savvy, street-smart detective, and a reclusive actress of yesteryear with an excessive starvation for all times, the wordsmith units out to discover the relationship among the weird occasions, and in doing so, uncovers the reality approximately his personal inventive skills.
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Extra info for Death is a Lonely Business (Crumley Mystery Series, Book 1)
The second concerned the persistence of essentially pre-modern ways of life in the context of American hypermodernity. In some ways, these issues were related as two elements of a new cosmopolitan vision of America. For the bohemians of Greenwich Village, America was a rich amalgam of immigrant and indigenous cultures. Polemicists including Van Wyck Brooks and Randolph Bourne asserted that Americans had for too long viewed themselves as England’s cultural inferiors; with the increasing financial and industrial power of the United States, it was time to assert a distinctively American cultural identity.
In constant retreat from the “phonies” who he believes surround him everywhere, Holden, after a painful arrival in Grand Central Station, visits Manhattan tourist attractions including Central Park, Radio City Music Hall, and the Empire Theatre. Salinger’s novel repeats the dual responses that have characterized the New York City novel from the first; in it, Manhattan exudes a surface glamour and excitement that hides a pervasive spiritual emptiness. In 1964, Hubert Selby, Jr. published Last Exit to Brooklyn, a New York novel that was dramatically, even shockingly, different from those that had preceded it.
Modernism 19 Thus we see that, even in the case of these fragmented narratives, there remains a strong desire for something like a totality. This helps account for the fact that, in the moment of the short, sketchy narrative, monumentally long works were also characteristic of modernist fiction. Notable examples of this are Stein’s thousand-page long family epic, The Making of Americans (1925) and the linked autobiographical fictions of Thomas Wolfe (Look Homeward, Angel, 1929; Of Time and the River, 1935; The Web and the Rock, 1939; You Can’t Go Home Again, 1940).