S is for Silence (Kinsey Millhone, Book 19) by Sue Grafton PDF

By Sue Grafton

ISBN-10: 0425212696

ISBN-13: 9780425212691

S is for silence: the silence of the misplaced, the silence of the grave, the silence of oblivion.

Thirty-four years in the past, Violet Sullivan wear her get together finery and left for the yearly Fourth of July fireworks reveal. She used to be by no means visible back. within the small California city of Serena Station, tongues wagged. a few stated she'd run off with a lover. a few stated she was once murdered via her husband. yet for the not-quite-seven-year-old daughter Daisy that she left in the back of, her absence hasn't ever been defined or forgotten.

Now, thirty-four years later, she desires the solace of closure.

In S is for Silence, Kinsey Millhone's 19th expedition into the realm of suspense and misadventure, S is for surprises as Sue Grafton takes a complete new method of telling the story. And S is for fantastic: Kinsey and Grafton at their best.

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Additional resources for S is for Silence (Kinsey Millhone, Book 19)

Sample text

Merrin, this vicarious image of ourselves, is slow, old, and sickly. He has diﬃculty getting up, and he walks unsteadily about the pits. Even his hat, distinct from the kaﬃyehs, is shaken by the whipping whirlwinds, and he fumbles to keep it in place. ’’ 17 When Merrin penetrates the dry and dark oriﬁce of this aggressive, feminine land, he is unlucky, because this place does not conceal or give birth to great treasures. It is a decaying land, as tritely signiﬁed by the ﬂy that lands upon his hand.

It is ﬁlled with stones and jagged rock formations, scarred with pits, and linked by confusing labyrinths. It is properly staﬀed with the Oriental icons of shepherds and their ﬂocks, along with a camel caravan. However, this place is not a blissful, virginal, and agricultural scene of Orientalist fantasy. Its chance at fecundity seems long past. It is, as the audience is informed, Northern Iraq, and it captures the fantasized characteristics of medieval Hell. It is a wretched land, scorched by that strange and ﬁery sun disk, and seemingly still smoldering.

Instead of analysis, Kermode’s discussion of narrative becomes a detailed retelling of the ﬁlm’s events. To disguise this shortcoming, Kermode cleverly peppers his review with behind-the-scenes trivia to the exorcist keep his readers interested. Williams’s approach, in contrast, is more analytical, but it cuts out the narrative’s beginning, relies upon its complex middle and end, and points out the unsuccessful story line of the ﬁlm. Without a more concerted reconciliation of the Iraq prologue with the remainder of the movie, critics are missing its importance as a contextual frame that director William Friedkin and the novel’s and screenplay’s author William Peter Blatty so meticulously put before the audience during the ﬁrst ten minutes.

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