A Belated Revenge

Bonded Leather binding

This unique collection of some of the greatest murder mysteries and revenge thrillers, has been designed and formatted to the highest digital standards. Contents: Face and the Mask Death Cometh Soon or Late The Woman of Stone The Chemistry of Anarchy The Fear of It The Metamorphoses of Johnson The Reclamation of Joe Hollends The Type-Written Letter The Doom of London The Predicament of De Plonville A New Explosive The Great Pegram Mystery High Stakes "Where Ignorance Is Bliss" The Departure of Cub Mclean Old Number Eighty-Six Playing With Marked Cards The Bruiser's Courtship The Raid On Mellish Striking Back Crandall's Choice The Failure of Bradley Ringamy's Convert A Slippery Customer The Sixth Bench Revenge! An Alpine Divorce Which Was The Murderer? A Dynamite Explosion An Electrical Slip The Vengeance of the Dead Over The Stelvio Pass The Hour and the Man "And the Rigour of the Game" The Bromley Gibberts Story Not According to the Code A Modern Samson A Deal on 'Change Transformation The Shadow of the Greenback The Understudy "Out Of Thun" A Dramatic Point Two Florentine Balconies The Exposure of Lord Stansford Purification Robert Barr (1849–1912) was a Scottish-Canadian short story writer and novelist, born in Glasgow, Scotland. His famous detective character Eugéne Valmont, fashioned after Sherlock Holmes, is said to be the inspiration behind Agatha Christie's Hercule Poirot.

This volume explores the multifaceted depiction and staging of historical and social traumata as the result of extreme violence within national contexts. It focuses on Israeli-Palestinian, German and (US) American film, and reaches out to cinematic traditions from other countries like France, Great Britain and the former USSR. International and interdisciplinary scholars analyze both mainstream and avant-garde movies and documentaries premiering from the 1960s to the present. From transnational and cross-genre perspectives, they query the modes of representation – regarding narration, dramaturgy, aesthetics, mise-en-scène, iconology, lighting, cinematography, editing and sound – held by film as a medium to visualize shattering experiences of violence and their traumatic encoding in individuals, collectives, bodies and psyches. This anthology uniquely traces horror aesthetics and trajectories as a way to reenact, echo and question the perpetual loops of trauma in film cultures. The contributors examine the discursive transfer between historical traumata necessarily transmitted in a medialized and conceptualized form, the changing landscape of (clinical) trauma theory, the filmic depiction and language of trauma, and the official memory politics and hegemonic national-identity constructions.

The half-blood—half Indian, half white—is a frequent figure in the popular fiction of nineteenth-century America, for he (or sometimes she) served to symbolize many of the conflicting cultural values with which American society was then wrestling. In literature, as in real life the half-blood was a product of the frontier, embodying the conflict between wilderness and civilization that haunted and stirred the American imagination. What was his identity? Was he indeed "half Indian, half white, and half devil"—or a bright link between the races from which would emerge a new American prototype? In this important first study of the fictional half-blood, William J. Scheick examines works ranging from the enormously popular "dime novels" and the short fiction of such writers as Bret Harte to the more sophisticated works of Irving, Cooper, Poe, Hawthorne, and others. He discovers that ambivalence characterized nearly all who wrote of the half-blood. Some writers found racial mixing abhorrent, while others saw more benign possibilities. The use of a "half-blood in spirit"—a character of untainted blood who joined the virtues of the two races in his manner of life—was one ingenious literary strategy adopted by a number of writers, Scheick also compares the literary portrayal of the half-blood with the nineteenth-century view of the mulatto. This pioneering examination of an important symbol in popular literature of the last century opens up a previously unexplored repository of attitudes toward American civilization. An important book for all those concerned with the course of American culture and literature.

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From a corpus of Greek epics known in antiquity as the "Epic Cycle," six poems dealt with the same Trojan War mythology as the Homeric poems. Though they are now lost, these poems were much read and much discussed in ancient times, not only for their content but for their mysterious relationship with the more famous works attributed to Homer. In Device and Composition in the Greek Epic Cycle, Benjamin Sammons shows that these lost poems belonged, compositionally, to essentially the same tradition as the Homeric poems. He demonstrates that various compositional devices well-known from the Homeric epics were also fundamental to the narrative construction of these later works. Yet while the "cyclic" poets constructed their works using the same traditional devices as Homer, they used these to different ends and with different results. Sammons argues that the essential difference between cyclic and Homeric poetry lies not in the fundamental building blocks from which they are constructed, but in the scale of these components relative to the overall construction of poems. This sheds important light on the early history of epic as a genre, since it is likely that these devices originally developed to provide large-scale structure to shorter poems and have been put to quite different use in the composition of the monumental Homeric epics. Along the way Sammons sheds new light on the overall form of lost cyclic epics and on the meaning and context of the few surviving verse fragments.