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Psychologist Alex Delaware and detective Milo Sturgis struggle to make sense of a seemingly inexplicable massacre in this electrifying psychological thriller from the #1 New York Times bestselling master of suspense. LAPD Lieutenant Milo Sturgis has solved a lot of murder cases. On many of them--the ones he calls "different"--he taps the brain of brilliant psychologist Dr. Alex Delaware. But neither Alex nor Milo are prepared for what they find on an early morning call to a deserted mansion in Bel Air. This one's beyond different. This is predation, premeditation, and cruelty on a whole new level. Four people have been slaughtered and left displayed bizarrely and horrifically in a stretch limousine. Confounding the investigation, none of the victims seems to have any connection to any other, and a variety of methods have been used to dispatch them. As Alex and Milo make their way through blind alleys and mazes baited with misdirection, they encounter a crime so vicious that it stretches the definitions of evil.
NEW YORK TIMES BESTSELLER * Psychologist Alex Delaware and detective Milo Sturgis unravel a shocking crime at a raucous wedding reception in this gripping psychological thriller from the bestselling master of suspense. "Jonathan Kellerman's psychology skills and dark imagination are a potent literary mix."--Los Angeles Times LAPD Lieutenant Milo Sturgis is a fine homicide detective, but when he needs to get into the mind of a killer, he leans on the expertise of his best friend, the brilliant psychologist Dr. Alex Delaware. While Sturgis has a knack for piecing together the details of a crime, Delaware can decipher the darkest intents driving the most vicious of perpetrators. And there's no better place for the doctor's analytical skills to shine than a rowdy hall full of young men and women intoxicated on life and lust . . . and suddenly faced with the specter of death. Summoned to a run-down former strip joint, Delaware and Sturgis find themselves crashing a wild Saints and Sinners-themed wedding reception. But they're not the only uninvited guests. A horrified bridesmaid has discovered the body of a young woman, dressed to impress in pricey haute couture and accessorized with a grisly red slash around her neck. What's missing is any means of identification, or a single partygoer who recognizes the victim. The baffled bride is convinced the stranger snuck in to sabotage her big day--and the groom is sure it's all a dreadful mistake. But Delaware and Sturgis have a hundred guests to question, and a sneaking suspicion that the motive for murder is personal. Now they must separate the sinners from the saints, the true from the false, and the secrets from those keeping them. The party's over--and the hunt for whoever killed it is on. "As usual, [Delaware and Sturgis] form a formidable team. Also as usual, the characters here are varied and described with gritty clarity, and the puzzle facing the duo involves a delightful mix of L.A. culture, this time from its dive bars to its much more serious side."--Booklist
BONUS: This edition contains an excerpt from Jonathan Kellerman's Victims. The closing of the grand old Fauborg Hotel in Beverly Hills is a sad occasion for longtime patrons Alex Delaware and Robin Castagna, who go there one last time for cocktails. But even more poignant—and curious—is a striking young woman in elegant attire and dark glasses, alone there and waiting in vain. Two days later, police detective Milo Sturgis comes seeking his psychologist comrade’s insights about a grisly homicide. To Alex’s shock, the brutalized victim is the same beautiful woman whose lonely hours sipping champagne at the Fauborg may have been her last. But when a sordid revelation finally cracks the case open, the secrets that spill out could make Alex and Milo’s best efforts to close this crime not just impossible but fatal.
A gorgeous presentation devoted to the art of Japanese eroticism, drawn from the Honolulu Museum of Art’s rare and distinguished collection. The Japanese paintings and prints called shunga (literally "spring pictures") reflected the thriving sexual culture of early modern Japan and depicted with sensitivity and nuance the private lives of various social types, from courtesans and Kabuki actors to ordinary townspeople. Organized around a series of exhibitions at the Honolulu Museum of Art, this sumptuous volume presents art from the museum’s vast holdings of ukiyo-e prints, woodblock-printed books, and paintings, particularly those originating from the collections of scholar Richard D. Lane and famed author James A. Michener. These fascinating works, dating from the seventeenth through the twentieth centuries, explore Japan’s sexual culture (including issues of gender and the country’s ever-evolving sex industry) with humor as well as a surprisingly sophisticated literary and art-historical approach. Sure to become a collector’s item, this gorgeously designed publication offers stunning color plates showcasing numerous and unusual examples of exquisite Japanese erotica. Texts by leading scholars of shunga and ukiyo-e complete this treasure album of a book.
Documents the history of homosexuality and its representation in art, using objects from the British Museum's collection that date from 9000 BC to the present to illustrate how same-sex love has always been a part of human history.
A leather-covered scrapbook containing carefully mounted photographs of murder victims arrives on Alex Delaware's doorstep. Alex summons the help of his best friend, LAPD detective Milo Sturgis. Each will soon be forced to confront their own personal demons.
While doing fieldwork in the modernizing Javanese city of Solo during the late 1980s, Suzanne Brenner came upon a neighborhood that seemed like a museum of a bygone era: Laweyan, a once-thriving production center of batik textiles, had embraced modernity under Dutch colonial rule, only to fend off the modernizing forces of the Indonesian state during the late twentieth century. Focusing on this community, Brenner examines what she calls the making of the "unmodern." She portrays a merchant enclave clinging to its distinctive forms of social life and highlights the unique power of women in the marketplace and the home--two domains closely linked to each other through local economies of production and exchange. Against the social, political, and economic developments of late-colonial and postcolonial Java, Brenner describes how an innovative, commercially successful lifestyle became an anachronism in Indonesian society, thereby challenging the idea that tradition invariably gives way to modernity in an evolutionary progression. Brenner's analysis centers on the importance of gender to processes of social transformation. In Laweyan, the base of economic and social power has shifted from families, in which women were the main producers of wealth and cultural value, to the Indonesian state, which has worked to reorient families toward national political agendas. How such attempts affect women's lives and the meaning of the family itself are key considerations as Brenner questions long-held assumptions about the division between "domestic" and "public" spheres in modern society.
In The Museum of Useless Efforts Cristina Peri Rossi renders familiar, everyday situations uncanny through lyrical reinterpretations; at the same time, she somehow makes the uncanny appear quite ordinary. Crafting peculiar?and sometimes claustrophobically small?worlds, Peri Rossi explores the universal themes of desire, violence, and truth and the simultaneous and contradictory human capacities to repress and resist, speak and silence, desire and ignore. In these tales an insomniac is tormented by a stubborn lamb that refuses to jump over the fence; the momentary hesitation of a man on a crowded subway staircase who forgets whether he was going up or down unleashes pandemonium; and a patient receives a frantic call from his psychoanalyst, distraught that his wife has taken a new lover.
In this fascinating look at the creative power of institutions, Jonah Siegel explores the rise of the modern idea of the artist in the nineteenth century, a period that also witnessed the emergence of the museum and the professional critic. Treating these developments as interrelated, he analyzes both visual material and literary texts to portray a culture in which art came to be thought of in powerful new ways. Ultimately, Siegel shows that artistic controversies commonly associated with the self-consciously radical movements of modernism and postmodernism have their roots in a dynamic era unfairly characterized as staid, self-satisfied, and stable. Siegel presents a lively discussion of the shock experienced by neoclassical artists troubled by remains of antiquity that were trivial or even obscene, as well as the anxious aesthetic reveries of nineteenth-century art lovers overwhelmed by the quantity of objects quickly crowding museums and exhibition halls. In so doing, he illuminates the fruitful crises provoked when the longing for admired art is suddenly satisfied. Drawing upon neoclassical art and theory, biographies of early nineteenth-century writers including Keats and Scott, and the writings of art critics such as Hazlitt, Ruskin, and Wilde, this book reproduces a cultural matrix that brings to life the artistic passions and anxieties of an entire era.