By Christianna Brand

ISBN-10: 1453290486

ISBN-13: 9781453290484

At a medieval festival, Inspector Cockrill investigates a dramatic death.

Ever seeing that she drove her top friend’s fiancé to kill himself, Isabel Drew has been nicknamed Jezebel. She is domineering, smug, vain—and attractive sufficient to break out with it. She is starring as a princess in a medieval competition while her previous catches as much as her. On tiny slips of paper, threats look, promising loss of life to Isabel and people round her. Fearing she will be attacked, she invitations the bright Inspector Cockrill to maintain her secure after the functionality. yet her precautions come too past due. through the first express, Isabel falls from her tower and is lifeless ahead of she hits the floor. She used to be strangled, and the room she fell from used to be locked from the inside—a crime too bold to be attainable. yet Inspector Cockrill observed all of it, and unraveling the very unlikely is his forte.

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Extra info for Death of Jezebel (Inspector Cockrill, Book 4)

Sample text

Expanding Boundaries 49 the decolonialized maquis, the product of higher education, or the ambitious career-driven jeune cadre – makes him an anti-new-man. His unapologetic disdain of progress and reluctance to modernize make him a throwback to an older culture, and an icon of a culture on the verge of disappearance. Malet further expands the boundaries of detective fiction by including topical issues in his fiction such as postwar renovation, the tension between former collaborationists and resistance fighters, and the beginnings of the end of colonialism.

90 89 Maurice Renault, “En bavardant avec Léo Malet,” Magazine littéraire 21 (1949): 109-11. 90 Armand Hoog, “Mythologie du Pistolet: Romans policiers de Léo Malet,” Carrefour 07 Sept 1949. Rpt. , Nestor Burma détective de choc, un monde étrange. Spec. issue of Enigmatika 18 (1981). Paris: Butte-auxCailles, 1982: 119-22. 48 From Surrealism to Less-Exquisite Cadavers It may not be accurate to say that Burma “cache” his knowledge, as he shares it with the reader whenever possible. The range of his “connaissances,” including that of literary figures such as Mallarmé as well as historical faits-divers, is both surprising and impressive, as it goes beyond the culture scolaire that most French citizens shared.

That the two stories of “crime” and “enquête” can coexist in a detective novel is paradoxical for Todorov, which he dismisses by labeling the story of the crime as a story of absence. ”78 “Paradoxical” characterization does not hold for a roman noir, whose second story, the story of the investigation, is more important than the story of the initial crime. The noir story, with its first-person narration, reads as if we are tagging along with the detective, “le récit coïncide à l’action,”79 as opposed to the flashback récit of the énigme.

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