By Lawrence Block
Twelve years in the past, Matthew Scudder lied to a jury to place James Leo Motley at the back of bars. Now the creative psychopath is unfastened. And the alcoholic ex-cop-turned-p.i. needs to pay dearly for his sins. associates and previous fanatics -- even strangers unlucky adequate to proportion Scudder's identify -- are turning up useless. simply because a vengeful maniac is decided to not relaxation till he's pushed his nemesis again to the bottle...and then to the boneyard.
"The long island settings are beautifully genuine, the discussion is hip . . . and the solution . . . is hair-raising," -- Publishers Weekly
"A delicate, Chilling Suspense Novel That Stretches Nerves Wire-Tight" -- Boston Herald
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Additional info for A Ticket to the Boneyard
Watson in Doyle’s Sherlock Holmes series). In “Nisen dōka,” the nameless watashi (“I”) gets the last laugh, not only from his friend who took him to be a great detective, but also from the readers who expected his narrative to be sincere and complete. For today’s audience, the presence of the deceitful narrator who is not apologetic for giving the reader an incomplete account of the case and his involvement in the central plot likely suggests Christie’s Ackroyd, in which the audience accesses the story through the viewpoint of Dr.
In the end, Matsumoto, the one who better navigated the debris-ridden capital and demonstrated ﬁner tailing skills, wins by running away with the shiny prize. Matsumoto shows oﬀ his skill in tailing once again at the very end of the story, though much of its description is hidden from the readers. 22 Compared to his earlier tailing of Iwami, the one Matsumoto performs on the narrator is far less insidious and more playful, for he follows the narrator neither to take anything away from him nor to entrap him but only to make sure that the narrator is as unsuspecting as he appears to be.
If you readers thought that the criminal killed both Katsuko and Kenzō, it is a hasty conclusion on your part. In addition, when I described the murder scene, I did write that there were a man and a woman covered in blood and lying dead, but not killed and covered in blood. It is because Kenzō was not murdered. 53 In this passage, Yokomizo’s nameless narrator brags about the narrative feats he achieved and willingly discloses his creative master. Yokomizo does not feel threatened or dwarfed by “copying” his predecessors and colleagues in other literary traditions, as he is simply reusing the tools, the means of creation that now exist in the public domain (so to speak), and not duplicating their ﬁnal product.