Coffin's Game (John Coffin Mystery, Book 29) by Gwendoline Butler

By Gwendoline Butler

'[Gwendoline Butler's] inventiveness by no means turns out to flag; and the singular surroundings of her books, compounded of jauntiness and threat, continues to be undiminished' Patricia Craig, TLS within the aftermath of a terrorist explosion in London's moment urban, a woman's battered corpse is located in a broken development. however it is quickly glaring that this can be no bomb sufferer. A sadistic killer has mutilated the is still, elimination the fingertips and leaving the face unrecognizable. the single clue to the useless person's identification is a purse came upon at the scene. Its proprietor: Stella Pinero, actress spouse of leader Commander John Coffin. The research which follows is advanced by way of Coffin's refusal to think that the continues to be will be Stella's, and leader Superintendent Archie younger faces the unenviable job of wondering an excellent officer as to this kind of males his spouse used to be within the behavior of associating with. in the meantime, the secretive Inspector hotel of the Terrorist research Squad harbours fears of his personal. while a moment physique is found, Coffin reveals himself drawn right into a nightmarish video game. The homicide inquiry finds negative truths because it unfolds, bringing discomfort and bitterness to John Coffin as he's compelled to confront demise and treachery in his personal yard.

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Extra info for Coffin's Game (John Coffin Mystery, Book 29)

Sample text

For more on La Nausée, see Chapter Four below. 8 For Shields (1994, 62-3), he is Parisian by virtue of being “always as much mythic as […] actual”. 9 This reading draws on the chiastic form of the full title, in which Les Petits poèmes en prose is opposed to the subtitle Le Spleen de Paris. According to Covin (2000), while spleen can be seen to oppose Paris, just as poem opposes prose, in which case the city is re-presented as an Ideal, Paris can also be seen to stand outside the opposition, encompassing the tension between the poles.

It is in this direct access to events that the poem gives to the reader that its fetishistic power resides. 33 For, when Lehmann analyzes “À une Passante” from the perspective of the fetish, he is working from the garments backwards; that is to say that if the garments function in the poem as a fetish it is because the traumatic moment has already occurred: “The character of the fetish alludes in the poem both to the commodity, that is, the fashionable detail on the garment, and to the eroticism of the leg, which in itself can be seen only in its sartorial representation: adorned by stocking and shoe” (Lehmann 2000, 245).

We dress to be part of the crowd, yet to stand out from the crowd” (Wilson 2001, 51). It is precisely in this double movement that the follower of fashion can be compared to that other major but elusive figure of modernity, the flâneur. He, like Dior’s models, is of his time to the extent that he occupies a specific point in history;6 and yet, as Chambers (1999) reminds us, he is always, at least partially, out of step. In addition to being critically perverse, the flâneur is also double in terms of his literary and historical presence.

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