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To catch a murderous theater impresario, a young woman takes a deadly new role in this mystery with “suspense enough to spare” (The New York Times). Why did Rosaleen Wright hang herself in a soundproof room? She left an unsigned note, peppered with stiff religious references and no trace of her trademark vitality or wit. The police believe it was suicide, but Rosaleen’s best friend, Jane, is suspicious. To prove Rosaleen was murdered, she takes a job with the man who killed her. Luther Grandison, Rosaleen’s boss, is a New York theatrical impresario with a lethal charm. To the world at large, he’s powerful and charismatic, but Rosaleen’s letters to Jane described a greedy man who stole from his adopted daughter when his bank account ran low. Jane thinks Grandison killed her to protect his secret, but to prove it she will have to face down one of the finest murderers Broadway has ever seen.
The late Edmond Jabes was a major voice in French poetry in the latter half of this century. An Egyptian Jew, he was haunted by the question of place and the loss of place in relation to writing. He focused on the space of the book, seeing it as the true space in which exile and the promised land meet in poetry and in question. Jabes's mode of expression has been variously described: a new and mysterious kind of literary work - as dazzling as it is difficult to define, cascading aphorisms, a theater of voices in a labyrinth of forms. The manner of his writing embodies the meaning of his writing. Jabes's book is a manifesto not only of his own poetry, but of the most advanced critical poetry written during this century, one in which he engages in dialogue with some of its outstanding philosophers (Blanchot, Levinas, and Derrida)
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This text identifies a handful of plot elements that consistently recur within film noir and analyses in depth the memorable pictures that, while being vivid prototypes of certain cinematics themes, bend and break their moulds to find new ways to enthral and frighten us.