In the summer of 1997, Thomas Lynch arrives as the new chief of police in Idyll, Connecticut—a town where serious crimes can be counted on one hand. So no one is prepared when Cecilia North is found murdered on a golf course. By chance, Chief Lynch met her mere hours before she was killed. With that lead, the case should be a slam dunk. But there’s a problem. If Lynch tells his detectives about meeting the victim, he’ll reveal his greatest secret—he’s gay. So Lynch works angles of the case on his own. Meanwhile, he must contend with pressure from the mayor to solve the crime before the town’s biggest tourist event begins, all while coping with the suspicions of his men, casual homophobia, and difficult memories of his former NYPD partner’s recent death. As the case unfolds, Lynch realizes that small-town Idyll isn’t safe, especially for a man with secrets that threaten the thing he loves most—his job. From the Trade Paperback edition.
Police Chief Thomas Lynch investigates the disappearance of a six-year-old boy with a serious medical condition while coping with disrespect from townspeople and colleagues who don't like the fact that he's gay. It’s two weeks before Christmas 1997, and Chief Thomas Lynch faces a crisis when Cody Forrand, a six-year-old with a life-threatening medical condition, goes missing during a blizzard. The confusing case shines a national spotlight on the small, sleepy town of Idyll, Connecticut, where small-time crime is already on the rise and the police seem to be making mistakes left and right. Further complicating matters, Lynch, still new to town, finds himself the target of prank calls and hate speech that he worries is the work of a colleague, someone struggling to accept working with a gay chief of police. With time ticking away, Lynch is beginning to doubt whether he’ll be able to bring Cody home safely . . . and whether Idyll could ever really be home.
In the small, sleepy town of Idyll, Connecticut, Police Chief Thomas Lynch assists police officer Michael Finnegan to uncover clues to his sister's disappearance two decades ago. Charleston, Massachusetts, 1972: Rookie cop Michael Finnegan gets a call from his mother. His youngest sister, Susan, has disappeared, the same sister who ran away two years earlier. Anxious not to waste police resources, Finnegan advises his family to wait and search on their own. But a week turns into two decades, and Susan is never found. Idyll, Connecticut, 1999: In the woods outside of town, a young woman's corpse is discovered, and Detective Finnegan seems unusually disturbed by the case. When Police Chief Thomas Lynch learns about Finnegan's past, he makes a bargain with his officer: He will allow Finnegan to investigate the body found in the woods--if Finnegan lets the bored Lynch secretly look into the disappearance of his sister. Both cases reveal old secrets--about the murder, and about the men inside the Idyll Police Station and what they've been hiding from each other their whole careers.
In late nineteenth-century Germany, the onset of modernity transformed how people experienced place. In response to increased industrialization and urbanization, the expansion of international capitalism, and the extension of railway and other travel networks, the sense of being connected to a specific place gave way to an unsettling sense of displacement. Out of Place analyzes the works of three major representatives of German Realism-Wilhelm Raabe, Theodor Fontane, and Gottfried Keller-within this historical context. It situates the perceived loss of place evident in their texts within the contemporary discourse of housing and urban reform, but also views such discourse through the lens of twentienth-century theories of place. Informed by both phenomenological (Heidegger and Casey) as well as Marxist (Deleuze, Guattari, and Benjamin) approaches to place, John B. Lyon highlights the struggle to address issues of place and space that reappear today in debates about environmentalism, transnationalism, globalization, and regionalism.
Tennyson shared the assumptions of his age concerning the value of family life, and treated the domestic as the source of the heroic in both action and character. This book provides a critical examination of these major Victorian themes as they appear in Tennyson's poetry and demonstrates how the poet's assumptions illuminate his use of elegy, idyl, and epyllion and his treatment of romance. Professor Hair analyses In Memoriam, the English Idylls, The Princess, and Idyls of the King; he examines Tennyson's view of the family as the model of social order, a civilizing influence on the nation, and a place where the greater man, or hero, is nurtured; and he reveals how much of Tennyson's poetry explores the link between domestic and heroic. He also discusses the patterns into which these pervasive domestic concerns fall, with emphasis on the most significant: separation and reunions. The myth of Demeter and Persephone, the Biblical story of Ruth, and the Sleeping Beauty fairy tale are all versions of Tennyson's treatment of this pattern. The English Idylls and other idyls and epyllia are explored as varying combinations of romance, satire, tragedy, comedy, and irony, with a detailed analysis of The Princess, the most complex of these medleys. Idylls of the King, wherein the fate of Camelot rests on the marriage of Arthur and Guinevere, is treated as the fullest exploration of the link between domestic and heroic.
Hollywood Knights examines Hollywood Arthuriana as political nostalgia offered to American viewers during times of cultural crisis: the red scare of the 1950s, the breakdown of traditional authority in the 1960s and 1970s, the turn to the right in the 1980s and the redemption of masculine and national authority in the 1990s. Its analysis of these films explores their proposal of an ideal past - an Americanized Camelot and a democratized chivalry - as the solution to the problems of a troubled present, a solution that will ensure prosperity in the homeland and a globally beneficial American authority abroad.
The new edition of The British Cinema Book has been thoroughly revised and updated to provide a comprehensive introduction to the major periods, genres, studios, film-makers and debates in British cinema from the 1890s to the present. The book has five sections, addressing debates and controversies; industry, genre and representation; British cinema 1895-1939; British cinema from World War II to the 1970s, and contemporary British cinema. Within these sections, leading scholars and critics address a wide range of issues and topics, including British cinema as a 'national' cinema; its complex relationship with Hollywood; film censorship; key British genres such as horror, comedy and costume film; the work of directors including Alfred Hitchcock, Anthony Asquith, Alexander Mackendrick, Michael Powell, Lindsay Anderson, Ken Russell and Mike Leigh; studios such as Gainsborough, Ealing, Rank and Gaumont, and recent signs of hope for the British film industry, such as the rebirth of the low-budget British horror picture, and the emergence of a British Asian cinema. Discussions are illustrated with case studies of key films, many of which are new to this edition, including Piccadilly (1929) It Always Rains on Sunday (1947), The Ladykillers (1955), This Sporting Life (1963), The Devils (1971), Withnail and I (1986), Bend it Like Beckham (2002) and Control (2007), and with over 100 images from the BFI's collection. The Editor: Robert Murphy is Professor in Film Studies at De Montfort University and has written and edited a number of books on British cinema, including British Cinema and the Second World War (2000) and Directors in British and Irish Cinema (2006). The contributors: Ian Aitken, Charles Barr, Geoff Brown, William Brown, Stella Bruzzi, Jon Burrows, James Chapman, Steve Chibnall, Pamela Church Gibson, Ian Conrich, Richard Dacre, Raymond Durgnat, Allen Eyles, Christine Geraghty, Christine Gledhill, Kevin Gough-Yates, Sheldon Hall, Benjamin Halligan, Sue Harper, Erik Hedling, Andrew Hill, John Hill, Peter Hutchings, Nick James, Marcia Landy, Barbara Korte, Alan Lovell, Brian McFarlane, Martin McLoone, Andrew Moor, Robert Murphy, Lawrence Napper, Michael O'Pray, Jim Pines, Vincent Porter, Tim Pulleine, Jeffrey Richards, James C. Robertson, Tom Ryall, Justin Smith, Andrew Spicer, Claudia Sternberg, Sarah Street, Melanie Williams and Linda Wood.
'This is a unique interpretation of rural issues that will become essential reference for students, scholars, politicians, developers and rural activists...' - Imre Kovach, President, European Society for Rural Sociology, Research director, Institute for Political Sciences, Budapest
In Cybering Democracy, Diana Saco boldly reconceptualizes the relationship between democratic participation and spatial realities both actual and virtual. She argues that cyberspace must be viewed as a produced social space, one that fruitfully confounds the ordering conventions of our physical spaces.
