Bøger af Kay Pritchett

Mosey Frye, real estate agent and amateur sleuth, comes upon a corpse in the garage at Sunny Banks, the home of local towboat magnate Martin Eldridge. Hembree police chief Lieutenant Gus Olivera tracks a lead on a man who tried to extort money from the Captain Jack crew, claiming they were intoxicated on the night of a fatal collision. But Mosey, ever inquisitive, sets her sights on the Eldridges' distant past and ultimately reveals a more devious plot to destroy the elderly riverman's legacy and take control of his company.

When Mosey Frye, real estate agent and amateur sleuth, hunts for a summer house on the grounds of an abandoned plantation, she finds not only the house but also skeletal remains at the bottom of an old cistern. That same day, news of the horrific stabbing death of an eremitic nun leaves the citizens of Hembree in hang-jawed shock. Given that the tumble-down estate belonged to the dead nun's family, Mosey insists there must be a connection between the two events. But Police Chief Gus Olivera, predisposed against Mosey and the Church, scrambles to find a suspect among members of the clergy. Will Olivera solve one on his own? Or will his hopes be dashed when Mosey, once again, drops the clue that points to the killer?

Murder at Waite House When realtor and sleuth Mosey Frye lists a stigmatized property, solving the murder outshines making the sale. But in a little Delta town, good luck getting the Police Chief to pay you any mind--specially if you're a long-legged, rosy-cheeked blonde. The Terrace Lured by a ripped photograph of members of the local gentry, M...

This book examines strategies of transformation (becomings, image-making, and the phantasmagoric) that figure in four stories and a novel by Gothic fiction writer Pilar Pedraza (Spain, 1951). While critics have long associated the Bildungsroman with Gothic fiction, this study takes a close look at the developmental process itself: the means by which a protagonist, young or old, might transcend a deprived status to achieve a complete sense of self. Pedrazas works imply that, regardless of the path followed, a characters ability to think differently is crucial to progress. The fixed image, representative of an inflexible, socially determined mindset, arises as an obstacle to maturation. In Das de perros, for example, a triangular arrangement of coins in a cigar box elucidates the connection between individual lives and the social order or assemblage. Literary texts, such as this one, serve as collective assemblages of enunciation, capable of exposing fixed images as powerful instruments of control. Tristes Ayes del guila Mejicana discovers fixed images among the icons of Colonial Spains exequias reales, used in this case to territorialize the evolving identity of indigenous peoples.The territory that Pedrazas fiction best illuminates is, in reality, the image. When images remain fixed or territorialized, they uncannily infect the assemblages over which they exert influence. Placing emphasis on images that impact women, Pedraza, in Anfiteatro, for example, deconstructs cat woman, which, albeit a potentially subversive image in its early manifestations, eventually ceases to empower the feminine, lashing it, rather, to a burdensome stereotype. Territorialized, the feminine must, then, break free from the image in order to discover representations more capable of illuminating present-day challenges.The phrase dark assemblages, drawn from Deleuze and Guattaris A Thousand Plateaus, gestures toward societal stagnation as a decisive factor in individual evolvement. Gothic fiction represents an uneven landscape, in that it tenders the possibility of a social critique yet, equally well, lends itself to the exclusion of specific identities and practices that society brands as anomalous. Pedrazas Gothic fiction is, indeed, subversive, in that it offers readers original perceptions of modern day people and the assemblages, dark or otherwise, to which they belong.

Born in the small Extremaduran town of Moraleja in 1946, Spanish poet Pureza Canelo, at the age of twenty-five, published her first collections of poetry, Celda verde and Lugar comon (winner of the 1970 Adonais Prize). By 1979, she had settled upon an understanding of her own aesthetic evolvement, which she elaborated in Habitable (Primera poZtica). Then, in 1986, after a period of disenchantment with the written word during which she published only two chapbooks-Espacio de emoci-n (1981) and Vega de la paloma (1984)-she redefined her position in Tendido verso (Segunda poZtica). Designed to complement Nature's Colloquy with the Word: Pureza Canelo's First Poetics (Bucknell, 2004), the current text deciphers the intricate poetic language of the poet's mature works, which, at the time of writing, included the two above-mentioned chapbooks as well as Tendido verso, Pasi-n inZdita (1990), and No escribir (1999). The author traces recurrent aesthetic and philosophical positions that serve to differentiate the poet's first and second poetics. Tendido verso is the volume in which temporality supercedes essence and, in so doing, breaks with insights expressed by Juan Ram-n JimZnez during his Modernist phase. In Pasi-n inZdita the intimate pronominal discourse between poet and creative other allows them to coalesce into an indeterminate being. At this point the desired goal of the creative process is achieved; the 'holy wedding' (hieros gamos) of poet and creative other occurs. No escribir abandons the struggle of Canelo's previous books and carries out the method prescribed by her second poetics. She recognizes that only the creative process can satisfy her desire, and that love, the dominant symbol for creation, indeed, allows the pain of poetic failure to cease. Passion, nonetheless, must stop short of fulfillment, since the written poem, laden with the poet's gaze and subjectivity, cannot exist apart from its shadow. It is the poem shadow, like Lacan's objeta, that most disturbs the poet. Only by positioning herself close to the creative process, similar to a worker on scaffolding, is she able to assume a 'parallax view' (in 3iyek's sense), if not of the finished poem, of its formation. In contextualizing the poet's work, Pritchett discovers commonalities with Romantic, Modernist, and creacionista writers. Canelo's insights, moreover, display a resemblance to Heidegger's thoughts on time, being, and poetry, Lacan's ideas on experience and language, and 3iyek's vision of the subject's relationship to the object. Out of the latter's 'parallax view' a perception comes to light that requires poets to deny aesthetic idealism and scrutinize the subject-object relationship. It is Canelo's detection of poem 'shadows' that drives her to refine her approach to creation and, thus, to evolve as a poet.