Detour To Death

Enjoy this light urban fantasy mystery series by USA Today Bestselling fantasy author Shereen Vedam… A murder. A mystery. A legacy to uphold. Feuding with her over-protective mother, Abigail Grimshaw rebelliously stops at St. Michael’s church against her mother’s order to “hurry home,” and runs straight into danger. There, Abbie encounters an unexpected supernatural complication: she sees—and talks to—the Earl of Ashford. He died in 1816, but death doesn’t stop this Regency ghost from charging Abbie with the safety of two scared children. A demon has murdered their mother. She never imagined life would give her an actual mystery to solve, innocents to protect, and evil to banish, but Abbie discovers that she’s a Grimm, like her mother before her. There’s a long legacy of defending the innocent at stake. If she cannot master child-guarding and demon-slaying simultaneously, her own legend will be short-lived. If you enjoy ghostly tales with a fairy tale flavor, you'll love this new face on the Grimm scene. Pick up this magical adventurous mystery today!

Death Takes a Detour, first published in 1958 as a Crime Club Detective Story, features Inspector Henry Arnold and Desmond Merrion, no. 57 in the series of British mysteries by Miles Burton (a pen-name for prolific author Cecil Street [1884-1964]). From the dustjacket: Inspector Arnold and Desmond Merrion have tackled many curious and difficult cases in their time but never one which led them on a longer and more puzzling trail than the death of Donald Carswell. It began when a sudden summer flood swept down on Brensford and marooned visitors and inhabitants alike in the attics and top floors of their houses. Before the waters had gone down a killer had struck. It was the odd behavior of many of the suspects which first began to puzzle the man from the Yard and his friend. Each theory they tested seemed to point to a criminal activity—but none of them seemed to point to a murderer. Arnold's steady determination and Merrion's fertile imagination make the two a formidable team. But in Death Takes a Detour they need to use all their ingenuity and resources to untangle an absorbing and complex case of the sort for which Miles Burton is famous.

Was 'death' a lacuna at the heart of Sigmund Freud's work? Liran Razinsky argues that the question of death is repressed, rejected and avoided by Freud, therefore resulting in an impairment of the entire theoretical structure of psychoanalysis. Razinsky supports his claim through a series of close readings of psychoanalytic texts (including not just Freud, but Klein, Kohut, Jung and Lacan among others) that explore psychoanalysis' inattention to this fundamental human concern. The readings are combined to form an overall critique of psychoanalysis - one that remains sympathetic but calls for a rethinking of the issue of death. In presenting a fresh and persuasive interpretation of the Freudian corpus, this book will be of interest to scholars of Freud's thought and psychoanalysis, literary scholars, analysts, clinicians and to all those curious about death's psychic life.

Examines themes of loss and mourning in the late work of Derrida. In this book, Kas Saghafi argues that the notion of “the end the world” in Derrida’s late work is not a theological or cosmological matter, but a meditation on mourning and the death of the other. He examines this and several other tightly knit motifs in Derrida’s work: mourning, survival, the phantasm, the event, and most significantly, the term salut, which in French means at once greeting and salvation. An underlying concern of The World after the End of the World is whether a discourse on salut (saving, being saved, and salvation) can be dissociated from discourse on religion. Saghafi compares Derrida’s thought along these lines with similar concerns of Jean-Luc Nancy’s. Combining analysis of these themes with reflections on personal loss, this book maintains that, for Derrida, salutation, greeting, and welcoming is resistant to the economy of salvation. This resistance calls for what Derrida refers to as a “spectro-poetics” devoted to and assigned to the other’s singularity. “Saghafi’s book makes a remarkable contribution as a coming-to-terms with interminable mourning.” — Peggy Kamuf, author of To Follow: The Wake of Jacques Derrida

Long considered an unpolished gem of film noir, the private treasure of film buffs, cinephiles and critics, Edgar G. Ulmer's Detour (1945) has recently earned a new wave of recognition. In the words of film critic David Thomson, it is simply 'beyond remarkable.' The only B-picture to make it into the National Film Registry of the Library of Congress, Detour has outrun its fate as the bastard child of one of Hollywood's lowliest studios. Ulmer's film follows, in flashback, the journey of Al Roberts (Tom Neal), a pianist hitching from New York to California to join his girlfriend Sue (Claudia Drake), a singer gone to seek her fortune in Hollywood. In classic noir style, Detour features mysterious deaths, changes of identity, an unforgettable femme fatale called Vera (Ann Savage), and, in Roberts, a wretched, masochistic antihero. Noah Isenberg's study of Detour draws on a vast array of archival sources, unpublished letters and interviews, to provide an animated and thorough account of the film's production history, its critical reception, its afterlife (including various remakes) and the different ways in which the film has been understood since its release. He devotes significant attention to each of the key players in the film – the crew as well as the principal actors – while charting the uneasy transformation of Martin Goldsmith's pulp novel into Ulmer's signature film, the disagreements between the director and writer, and the severe financial and formal limitations with which Ulmer grappled. The story that Isenberg tells, rich in historical and critical insight, replicates the briskness of a B-movie.

This book examines the crucial role of psychoanalysis in understanding what AI means for us as speaking, sexed subjects. Drawing on Lacanian theory and recent clinical developments it explores what philosophy and critical theory of AI has hitherto neglected: enjoyment. Through the reconceptualization of Intelligence, the Artificial Object and the Sexual Abyss the book outlines the Sexbot as a figure who exists on the boundary of psychoanalysis and AI. Through this figure and the medium of film, the author subverts Kant’s three Enlightenment questions and guides readers to transition from asking 'Does it think?' to 'Can it enjoy?' The book will appeal in particular to students and scholars of psychoanalysis, philosophy, film and media studies, critical theory, feminist theory and AI research.