By Lynda La Plante

ISBN-10: 1847395082

ISBN-13: 9781847395085

Devoted, intuitive and totally obsessive, DCI James Langton is ruthless in his pursuit of a gang of unlawful immigrants, killers of a tender prostitute. whilst he's horrifically, virtually fatally injured by way of one in all them, it falls upon DI Anna Travis to place her personal profession on carry as she nurses him via his excessive frustration and desperation to carry his would-be assassin to justice.
Then Anna is assigned to another case, the brutal killing of a quiet, studious girl whose physique used to be chanced on by means of her daughter returning domestic from institution. A mindless assault without seen rationale or speedy suspect. till, chillingly, the case turns into abruptly associated with Langton's and Anna reveals herself below related probability from those that nearly destroyed his profession and his existence.

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Additional info for Clean Cut (Anna Travis, Book 3)

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42. O n this point, see Sac van Be rcovitch, Th e America n Jeremiad (Mad ison : Un iversity o f Wisconsin Press, 197 8). ,no NOIR 50 . To m Conley has p rese n ted an int er estin g th esis whic h tries to show the influ en ce o f ex iste ntia lism and its th eat re on fil m nair: see his a rticle, 'Sta te of Film Noir', T heatre journal ( 1987 ), pp. 347-63. See also Rob ert G. Po rfir io, ' No Way Out : Existe n tia l Motifs in the Film Noir', Sight and Soun d, vol. 45, no. 4 (Au tu m n 1976) , pp .

It would be an interesting experiment to try to mak e a n encyclopaedia of detective films not included in the encyclopaedias offilms noirs. This would engage us in a veritable archaeology of the American d etectiv e film, a nd no longer in a compilation attached to arbitrarily chosen dates. StiIl, if the context of 24 c f F a II C \01 II C. F f( n FILM NOIR ON THE EDGE OF DOOM 1946-55 in France ca n explain the crea tio n o f the term 'fiLm nair', it is astonishing that it has lasted and that it has regularly been reviv ed and renewed by su cceeding ge ne ra­ tion s, until now and the present volume.

A. and looked it eve ry in ch') are virtuall y th e onl y middle-class characters in all of Chandler ; and th e y are there to show that in matters of wealth and power (their daughter has been murdered) the police cannot be counted on to protect even these most solid and re sp ectable average citizens. As for the working class , Bill Chess in the same novel can be thought to stand as their ' re p rese n ta tio na l representative', but he is a cripple and an alcoholi c and a wife-beater and makes Chandler's problem even clearer: how to co nvey the average and the everyday in the co u rse of pursuing the ' m e m o ra ble' and th e ex ceptional, of registering what breaks the routine, challenges the serene reprodu ction of th e social order, counts as crime and adventure.

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Clean Cut (Anna Travis, Book 3) by Lynda La Plante

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