By John Sandford
Years in the past, Lucas Davenport virtually died by the hands of Clara Rinker, a delightful, soft-spoken, low-key Southerner, and the easiest hitwoman within the company. Now retired and residing in Mexico, she approximately dies herself whilst a sniper kills her boyfriend, the son of a neighborhood druglord, and whereas the boy's father vows vengeance, Rinker is aware whatever he doesn't: The boy wasn't the target-she was-and now she will need to disappear to discover the killer herself. The FBI and DEA draft Davenport to aid tune her down, and along with his fiancée deep in marriage ceremony arrangements, he's quite simply as satisfied to go-but he has no concept what he's entering into. For Rinker is as unpredictable as ever, and among her, her outdated bosses within the St. Louis mob, the Mexican druglord, and the mixed, occasionally warring, forces of U.S. legislations enforcement, this can be one case that would get extra harmful because it is going alongside. And while the crossfire comes, somebody status within the heart won't stand an opportunity. . . .
Filled with the wealthy characterization and unparalleled drama which are his hallmarks, Mortal Prey proves that John Sandford simply retains convalescing.
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Extra info for Mortal Prey (Lucas Davenport, Book 13)
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.