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By Stuart Woods

Stone Barrington returns within the beautiful new mystery via the New York Times­–bestselling author.

Stone Barrington is again in new york and happy to obtain an unforeseen stopover at from his pal and someday lover Holly Barker, now an assistant director on the CIA. For her half, Holly is blissful to go away the staid, legitimate environs of the capital for the eating and surroundings of latest York, yet her sojourn isn’t just for excitement. An explosive incident calls for her speedy attention—and Stone’s investigative expertise.

yet what before everything seems to be a uncomplicated case quickly turns into more and more complex—and harmful. For within the secretive global of presidency intelligence, nationwide pursuits all too usually clash with energy grabs and turf wars, and severe wealth permits even the main pursued competitors to slide throughout the cracks. As Stone and Holly keep on with the path from London’s posh embassy district to Manhattan’s higher East facet, they study simply how good the main crafty plans may be disguised . . . and the way a long way a few humans will visit wreak vengeance.

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Extra info for Collateral Damage (Stone Barrington)

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O ne thinks, for ex a mple, of the date with the ill-fated Harry Jones in his dilapidated offi ce: 1 The lighted obl ong of a n un curtained window face d me , cu t by th e a ng le of a d esk . On th e desk a hooded typewriter too k form, th en th e metal knob of a communicating door. This was unlocked . I p assed int o the second of the three offi ces. Rain rattled suddenly against the closed wind ow . U nd e r its noise I cross ed th e room .

Film noir presents a fine example of cine ma history and aesth etic refl ection that is founded on distribution (in France at a ce r tain point in tim e) and cr itical discourse , a nd not on produ ction (in the U nited States during several decades), in a complete 25 SHADES OF NOlA igno r a nce of th e larger cu ltu ral context. ) . but a lso becau se no o ne has su ffic ie n tly reHected o n the id eological co ndi tio ns th a t co u ld ha ve presid ed ove r the ad ven t o f a kind of fictio n .

Th e personnel o f fi lm n oir appea rs to us to be a sort of tribe, an exte nded fam ily all of whose members we know a nd in the midst of • which we are plea sed to find oursel ves from tim e to time. Like all fa milies, it is both encom passi ng (it has man y me m be rs) a nd exclu sive (it thinks of itself as e n dowed with a particula r qual ity tha t rad ically excludes all non-rnem bersj. V For example, Bogart formed a tr oika with Peter Lorre and Syd ney Greenstreet that was found toge th e r in var ious fo rms for several yea rs, imposin g a so rt of ca no n th at elim in at es certain acto rs who were alre ady in place .

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