FRONT PAGE NEWS: MURDER! Journalist Katie Todd wanted her name as a byline on the front page, not in the obituaries. When an assignment goes very wrong, she finds herself pursued by ruthless kidnappers. Her only hope is the enigmatic and handsome Mark Armor. All clues point to him being the enemy of her enemy, but is he a friend—or something much more dangerous? Every move Mark makes to help Katie brings him closer to the life he left behind, but he can't say no to the beautiful writer. Will the secrets of his past put Katie in even more danger?
In Friedrich Dürrenmatt’s experimental thriller The Assignment, the wife of a psychiatrist has been raped and killed near a desert ruin in North Africa. Her husband hires a woman named F. to reconstruct the unsolved crime in a documentary film. F. is soon unwittingly thrust into a paranoid world of international espionage where everyone is watched—including the watchers. After discovering a recent photograph of the supposed murder victim happily reunited with her husband, F. becomes trapped in an apocalyptic landscape riddled with political intrigue, crimes of mistaken identity, and terrorism. F.’s labyrinthine quest for the truth is Dürrenmatt’s fictionalized warning against the dangers of a technologically advanced society that turns everyday life into one of constant scrutiny. Joel Agee’s elegant translation will introduce a fresh generation of English-speaking readers to one of European literature’s masters of language, suspense, and dystopia. “The narrative is accelerated from the start. . . . As the novella builds to its horripilating climax, we realize the extent to which all values have thereby been inverted. The Assignment is a parable of hell for an age consumed by images.”—New York Times Book Review “His most ambitious book . . . dark and devious . . . almost obsessively drawn to mankind’s most fiendish crimes.”—Chicago Tribune “A tour-de-force . . . mesmerizing.”—Village Voice
Seventeen years of buried secrets and a divorce stood between them.It started with her estranged father's murder.The last thing LA detective Gabby Woodward needed was the custody of her entitled half-brother.She was jaded and overworked. A nurturing soul she was not.And he was a reminder of "him."Her ex-husband.The man who crushed her heart and trampled on her love.Ex-mercenary Declan Roarke had hit rock bottom.His new assignment mentoring teen actors was the gateway to hell.And the last thing he needed was to be near his ex-wife.The woman who trampled on their vows and ruined his ability to trust.Working together exposes feelings for each other that never died.It also uncovers the betrayal that tore them apart.And a deadlier conspiracy threatening all their lives.
This volume begins with the general assumption that suspense is a major criterion for both an audience's selection and evaluation of entertaining media offerings. This assumption is supported not only by the popularity of suspenseful narratives, but also by the reasons users give for their actual choice of media contents. Despite this, there is no satisfying theory to describe and explain what suspense actually is, how exactly it is caused by films or books, and what kind of effect it has on audiences. This book's main objective is to provide that theory by bringing together scholars from different disciplines who are working on the issue. The editors' goal is to reflect the "state of the art" as much as it is to highlight and encourage further developments in this area. There are two ways of approaching the problem of describing and explaining suspense: an analysis of suspenseful texts or the reception process. Researchers who follow the more text-oriented approach identify the uncertainty of the narrative outcome, the threat or danger for the protagonist, the play with time delay, or other factors as important and necessary for the production of suspense. The more reception-oriented scholar focuses on the cognitive activities of audiences, readers' expectations, the curiosity of onlookers, their emotions, and their relationships with the protagonists. A correspondence between the two seems to be quite difficult, though necessary to determine. Both perspectives are important in order to describe and explain suspense. Thus, the editors utilize the thesis that suspense is an activity of the audience (reader, onlooker, etc.) that is related to specific features and characteristics of the text (books, films, etc.). Their question is: What kind of relation? The answer comes from finding out how, why, and which elements of the text cause effects that are experienced as suspense. Scholars from semiotics, literary criticism, cultural studies, and film theory assess the problem from a text-oriented point of view, dealing primarily with the how and which. Other scholars present the psychological perspective by focusing on the cognitive and emotional processes that underlie viewers' experience of suspense; that is, the reception theory tries to answer the question of why suspenseful texts may be experienced as they are.
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From Per Wahlöö—co-author with his wife, Maj Sjöwall, of the internationally bestselling Martin Beck series of mysteries—comes a novel about a political assassination in South America, and unassuming diplomat is chosen to take his place. The Provincial Resident of a desolate province in a South America has been assassinated. When Manuel Ortega, a minor diplomat, accepts the appointment as the dead man's successor, it seems a foolhardy decision. From the day he assumes his post he is plunged into a violent, corrupt world, where two extremist political factions are at odds. Ortega is caught in the middle, surrounded by people he's not sure he can trust--his alluring secretary, the cynical chief of police, and the sullen bodyguards who try to keep the Resident alive. As the tension rises, Ortega must take action, but the question remains: what will he do?
