fogIt's been awhile since Doc Sportello has seen his ex-girlfriend, Shasta Fay. Suddenly out of nowhere she shows up with a story about a plot to kidnap a billionaire land developer whom she just happens to be in love with. Easy for her to say. It's the tail end of the psychedelic sixties in L.A., and Doc knows that "love" is another of those words going around at the moment, like "trip" or "groovy," except that this one usually leads to trouble. Despite which he soon finds himself drawn into a bizarre tangle of motives and passions whose cast of characters includes surfers, hustlers, dopers and rockers, a murderous loan shark, a tenor sax player working undercover, an ex-con with a swastika tattoo and a fondness for Ethel Merman, and a mysterious entity known as the Golden Fang, which may only be a tax dodge set up by some dodgy dentists.In this lively yarn, Thomas Pynchon, working in an unaccustomed genre, provides a classic illustration of the principle that if you can remember the sixties, you weren't there . . . or . . . if you were there, then you . . . or, wait, is it . . .hang on. . .what

    His open disdain for the FBI's rules - and Directors - has exiled him to a no-profile post in the boondocks. But when a shadowy right-wing group starts flooding America's emergency rooms with dead and dying, Beamon is summoned back to Washington. Teamed with an icily efficient female field agent, he is given the thankless task of stopping the slaughter-even though millions of Americans secretly approve of it. As the body count rises, Beamon realizes there is something eerily familiar about his adversary, reminding him of the coldest killer he ever encountered - not a criminal but a law enforcement colleague. And for the first time, he wonders why he was chosen for this assignment. Was it his expertise - or his expendability?

    Now, Woodward's young clerk, Matthew, begins his own investigation. Piecing together the truth, he sees he has no choice but to vanquish a force more evil than witchcraft in order to exonerate a virtuous woman and free Fount Royal from the menace claiming the lives of its citizens.

    Robert Bresson makes some quite radical distinctions between what he terms "cinematography" and something quite different: "cinema"—which is for him nothing but an attempt to photograph theater and use it for the screen.Director of The Trial of Joan of Arc, Pickpocket, A Prisoner Escapes, Diary of a Country Priest, Money, and many other classic films, Robert Bresson is, quite simply, one of the most brilliant cinematographers in the history of film.

    Note - This is not the novel by Franz Kafka! For the novel see The Castle

    He’s drawn into the streets of New York, onto an elusive case that’s more puzzling and more deeply-layered than anything he might have written himself. In Ghosts, Blue, a mentee of Brown, is hired by White to spy on Black from a window on Orange Street. Once Blue starts stalking Black, he finds his subject on a similar mission, as well. In The Locked Room, Fanshawe has disappeared, leaving behind his wife and baby and nothing but a cache of novels, plays, and poems.This Penguin Classics Deluxe Edition includes an introduction from author and professor Luc Sante, as well as a pulp novel-inspired cover from Art Spiegelman, Pulitzer Prize-winning graphic artist of Maus and In the Shadow of No Towers.

    Elizabeth Jenkins's artistry, however, transforms the bare facts of this case from the annals of Victorian England's Old Bailey into an absolutely spine-chilling exploration of the depths of human depravity.