By Lawrence Block
Twelve years in the past, Matthew Scudder lied to a jury to place James Leo Motley in the back of bars. Now the inventive psychopath is unfastened. And the alcoholic ex-cop-turned-p.i. needs to pay dearly for his sins. neighbors and previous fanatics -- even strangers unlucky adequate to percentage Scudder's identify -- are turning up useless. simply because a vengeful maniac is set to not relaxation till he's pushed his nemesis again to the bottle...and then to the boneyard.
"The manhattan settings are beautifully actual, 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 resources for A Ticket to the Boneyard
These are “the articles that find their way into other periodicals . . ”26 Like Willis, who capitalized on what conventional antebellum society considered his failings and abnormalities – sexual indecency, foppery, a lack of respect for his betters – Poe achieved his early reputation not only by trafficking in “bad taste” but, more generally, by proffering his dispossession and alienation as features of his public self. Positioning himself overtly as an outsider, a sort of arrogant and autonomous literary orphan severed from the implicitly familial organization of what he called “cliques,” Poe launched an assault on the existing literary establishment in a series of reviews virtually unprecedented for their cruel and vituperative candor.
Longfellow confounded the true aim of poetry with the demands of morality and truth. He erred in assuming that “the inculcation of a moral” was essential to poetry. Acknowledging a deep respect for truth, Poe suggested that a calm, unexcited disposition allowed the mind to discover the truth, a different mood from that which allowed access to the poetical. Aligning poetry with the faculty of taste, a mediating category that occupied a distinct position between the intellect and the moral sense, Poe refused to mix “the obstinate oils” of poetry, truth, and morality.
In such cases, Bryant’s “mere didactics” lapsed into primitive expression (E&R, 441). When Poe turned his attention to Longfellow’s Ballads and Other Poems in a short review in Graham’s Magazine (March 1842), he likewise claimed that “his conception of the aims of poesy is all wrong” – that “his didactics are all out of place” (E&R, 682–683). A longer review of the Ballads the following month in Graham’s elaborated on these ideas and discussed with greater specificity as well many of the issues mentioned in the review of Alciphron.