John Sedgwick is the bestselling author of thirteen books, including Blood Moon, War of Two, his acclaimed account of the duel between Hamilton and Burr, two novels, and the family memoir In My Blood. A longtime contributor to GQ, Newsweek, Vanity Fair, and The Atlantic, he wrote the first national expose of the exploits of Whitey Bulger in GQ in 1992.
But one night changes everything. Trailing a car to a remote suburb, Rollins follows it to a house that, he eerily realizes, was once frequented by his murdered cousin. Drawn into a mystery to which he unwittingly holds the key, he must unlock the secrets of his past to find the truth -- a search that could free him from his own dark house of despair.
A harrowing, tension-riddled literary thriller that echoes the storytelling power of Frederick Busch and Ian McEwan, The Dark House heralds the arrival of a major talent.
Mrs. Bemis's treatment gradually peels back the layers of a disturbing past whose shameful secrets and hidden sorrows stem from the war years of the 1940s—and reveals an unexpected link to the floating corpse. Mrs. Bemis's awakening sparks an intimacy between the two women that goes beyond an ordinary doctor/patient relationship—but also makes it clear that Mrs. Bemis's recovery, and perhaps even her safety, depends on quickly coming to terms with her secret history.
This book provides an economic framework for understanding developments in film history. Film is a peculiar commodity with a unique set of characteristics. The topic hence is interesting and covered with aplomb by the contributors to the volume. The book includes sections on:long-term trends in the film industry the transformation of film from a primitive commodity to a heavily branded product the operation of the studio system the end of the studio system in post-war America the role and payment of stars Hollywood’s approach to risk during the 1990s.
Experts from the UK and North America have come together in these pages and the result is a readable, insightful and enlightening book that will gain many fans amongst those with an interest in the economics of film, economic historians, film historians and aficionados of the movie industry generally.