Execution Dock (William Monk, Book 16) by Anne Perry

By Anne Perry

At the bustling docks alongside the River Thames, nice Britain’s service provider ships sell off the treasures of the area. And right here, in dank and sinister alleys, intercourse retailers ply their profitable exchange. the feared kingpin of this darkish realm is Jericho Phillips, who turns out some distance past the achieve of the legislation. but if thirteen-year-old Fig is located along with his throat minimize, Commander William Monk of the River Police swears that Phillips will hold for this abomination. Monk’s spouse, Hester, attracts a hugely strange guerrilla strength to her husband’s cause—a canny ratcatcher, a retired brothel keeper, a fearless road urchin, and a rebellious society girl. to 1 as criminally minded as Phillips, those parents are mere mosquitoes, to make certain. yet as he'll quickly realize, a few mosquitoes may have a perilous sting.

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Additional resources for Execution Dock (William Monk, Book 16)

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Porfirio, “No Way Out,” 83–86. 18. Hazel E. Barnes, The Literature of Possibility: A Study in Humanistic Existentialism (Lincoln: University of Nebraska Press, 1959). 28 Steven M. Sanders 19. Albert Camus, The Myth of Sisyphus, trans. Justin O’Brien (New York: Vintage Books, 1955), 90. 20. Thomas Nagel, “The Absurd” (1971), reprinted in Nagel’s Mortal Questions (Cambridge: Cambridge University Press, 1979), 23. 21. See the entry on Red Light by Bob Porfirio in Silver and Ward, Film Noir, 241. 22.

13. Quoted in Hayde, My Name’s Friday, 43. 14. Hallam and Marshment, Realism and Popular Cinema, 194. Naked City : The Relativist Turn in TV Noir Robert E. Fitzgibbons Film noir’s evolution from the silver screen to the television screen was untidy at best; and this is nowhere more evident than in the transition from the feature-length movie The Naked City (Jules Dassin, 1948) to the TV show of the same title some ten years later. Although the movie was not the best of the noir genre, it was good and had many of the unmistakable classic noir markings: high-contrast black-and-white photography, stark images, severe camera angles, brutality, (a bit of) suggested sexual promiscuity, mystery, a major touch of evil, and moral absolutes.

In his new incarnation, Martin terrorizes the city with a series of daring liquor store robberies. The man’s intimate knowledge of how the police work suggests that he is a rogue cop. His cunning duplicity revealed by police lab work (bullets fired from the cop killer’s gun are shown to match one fired from the robber’s), the killer is eventually, in a striking sequence, given a face by police artists, who assemble the robbery victims to construct a group portrait. The patient and time-consuming check of leads provides yet another breakthrough.

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