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Ellis Alves is no angel. But his lawyer says he was framed for the murder of college student Melissa Henderson...and asks Spenser for help. From Boston's back streets to Manhattan's elite, Spenser and Hawk search for suspects, including Melissa's rich-kid, tennis-star boyfriend. But when a man with a .22 puts Spenser in a coma, the hope for justice may die with him...
A bad-boy movie star named Jumbo pushes the limits of his reputation when he's accused of rape and murder. When the Boston PD calls on Spencer, he meets Jumbo's young bodyguard, Zebulon Sixkill, and the two form an unlikely alliance. It's a high profile case for Spenser, but the Hollywood secrets he uncovers are sordidly unsavory- and not just those of the accused...
NOW THE NETFLIX FILM SPENSER CONFIDENTIAL STARRING MARK WAHLBERG AS SPENSER! Old friends. Small favors. Bitter rivals. Stirred together, it all makes for one explosive cocktail in this New York Times bestselling thriller that has Spenser feeling the heat... Henry Cimoli and Spenser have been friends for years, yet the old boxing trainer has never asked the private eye for a favor. Until now. A developer is trying to buy up Henry's condo on Revere Beach—with a push from local thugs. Soon Spenser and his apprentice, Zebulon Sixkill, are on the trail of a mysterious woman, a megalomaniacal Las Vegas kingpin, and a shady plan to turn a chunk of land north of Boston into a sprawling casino. As alliances shift and twisted dreams surface, the Boston political machine looks to end Spenser's investigation one way or another—and once and for all.
In the latest thriller featuring the legendary Boston PI, Spenser and his young protégé Mattie Sullivan take on billionaire money manager running a network of underaged girls for his rich and powerful clients. Ten years ago, Spenser helped a teenage girl named Mattie Sullivan find her mother's killer and take down an infamous Southie crime boss. Now Mattie--a college student with a side job working for the tough but tender private eye--dreams of being an investigator herself. Her first big case involves a fifteen-year-old girl assaulted by a much older man at one of Boston's most prestigious private clubs. The girl, Chloe Turner, only wants the safe return of her laptop and backpack. But like her mentor and boss, Mattie has a knack for asking the right questions of the wrong people. Soon Spenser and Mattie find ties between the exploitation of dozens of other girls from working class families to an eccentric billionaire and his sadistic henchwoman with a mansion on Commonwealth Avenue. The mystery man's wealth, power and connections extend well beyond Massachusetts - maybe even beyond the United States. Spenser and trusted ally Hawk must again watch out for Mattie as she unravels a massive sex-trafficking ring that will take them from Boston to Boca Raton to the Bahamas, crossing paths with local toughs, a highly-trained security company, and an old enemy of Spenser's--the Gray Man--for a final epic showdown.
Gordon Teskey restores Edmund Spenser to prominence, revealing his epic The Faerie Queene as a grand, improvisatory project on human nature. Teskey compares Spenser to Milton, an avowed follower. While Milton’s rigid ideology is now stale, Spenser’s allegories remain vital, inviting new questions and visions, heralding a constantly changing future.
The first comprehensive study of the eighteenth-century response to the Elizabethan poet Edmund Spenser, from editions to influence.
The four-hundred-year story of readers' struggles with a famously unreadable poem—and what they reveal about the history of reading and the future of literary studies "I am now in the country, and reading in Spencer's fairy-queen. Pray what is the matter with me?" The plaint of an anonymous reader in 1712 sounds with endearing frankness a note of consternation that resonates throughout The Faerie Queene's reception history, from its first known reader, Spenser's friend Gabriel Harvey, who urged him to write anything else instead, to Virginia Woolf, who insisted that if one wants to like the poem, "the first essential is, of course, not to read" it. For more than four centuries critics have sought to counter this strain of readerly resistance, but rather than trying to remedy the frustrations and failures of Spenser's readers, Catherine Nicholson cherishes them as a sensitive barometer of shifts in the culture of reading itself. Indeed, tracking the poem's mixed fortunes in the hands of its bored, baffled, outraged, intoxicated, obsessive, and exhausted readers turns out to be an excellent way of rethinking the past and future prospects of literary study. By examining the responses of readers from Queen Elizabeth and the keepers of Renaissance commonplace books to nineteenth-century undergraduates, Victorian children, and modern scholars, this book offers a compelling new interpretation of the poem and an important new perspective on what it means to read, or not to read, a work of literature.