By Anne Perry
No breath of scandal has ever touched the aristocratic Moidore family–until Sir Basil’s appealing widowed daughter is stabbed to demise in her personal mattress, a surprising, incomprehensible tragedy.
Inspector William Monk is ordered to enquire in a fashion that might supply the least attainable soreness to the influential kin. yet Monk, outstanding and bold, is handicapped via lingering strains of amnesia and via the craven ineptitude of his manager, who would prefer not anything higher than to determine Monk fail. With assistance from nurse Hester Latterly, a innovative younger girl who served with Florence Nightingale within the Crimea, Monk gropes warily during the silence and shadows that vague the case, figuring out that with each one step he comes towards the appalling fact.
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Extra resources for A Dangerous Mourning (William Monk, Book 2)
The fact that it is a melodrama of redemption involving a femme fatale who seduces a “good” man to deceive his family and neglect his vocation is ignored in Macek’s review. Tony’s moral and judicial transgressions are punished, and the flashback 16 Introduction ends with him lying seriously wounded in the street. While the superficial noir aspects are obvious—involving a dangerous woman and a “respectable” man—this external plot strand only functions to establish the film’s main dramatic element involving the internal conflict within Tony.
New York: Limelight Editions. Silver, Alain, and Elizabeth Ward. 1992. Film Noir: An Encyclopedic Reference to the American Style. New York: Overlook Press. Silver, Alain, and James Ursini. 2004. Film Noir. Cologne, Germany: Taschen. , and Eric Lax. 1997. Bogart. New York: William Morrow. Spicer, Andrew. 2002. Film Noir. Harlow, UK: Longman. Williams, Linda. 2001. Playing the Race Card: Melodramas of Black and White from Uncle Tom to O. J. Simpson. Princeton, NJ: Princeton University Press. 18 The Hard-Boiled Influence Geoff Mayer I don’t know what the game was.
J. Simpson. Princeton, NJ: Princeton University Press. 18 The Hard-Boiled Influence Geoff Mayer I don’t know what the game was. I’m not sure how it should be played. No one ever tells you. I only know we must have played it wrong, somewhere along the way. I don’t even know what the stakes are. I only know they’re not for us. We’ve lost. That’s all I know. We’ve lost. And now the game is through. The End —Cornell Woolrich, I Married a Dead Man (1948) Many of the ingredients that formed film noir in Hollywood in the 1940s were developed a decade or more earlier in the hard-boiled fiction that reached the American public via pulp magazines and, to a lesser extent, the crime novel.