By Stephen Hunter
Just one factor stands among a son and his father's killer: 40 years of lies..
On a distant Arizona ranch, a guy who has recognized loss, worry, and conflict weeps for the 1st time because he used to be a baby. His tears are for the daddy taken from him 4 a long time earlier than in a perilous shoot-out. And his grief will lead him again to where the place he used to be born, the place his father died, and the place a brutal conspiracy is ready to explode.
For Bob Lee Swagger, the area replaced on that scorching day in Blue Eye, Arkansas, whilst neighborhood boys rode armed and wild in a '55 Fairlane convertible. Swagger's father, Earl, a country trooper, used to be investigating the brutal homicide of a tender girl that day. by way of hour of darkness Earl Swagger lay useless in a abandoned cornfield.
Now Bob Lee desires solutions. He desires to understand the reality at the back of the shoot -out that took his father's lifestyles, a secret buried in 40 years of lies. simply because for Bob Lee Swagger, the killing didn't finish that day in Blue Eye, Arkansas. The killing had simply begun...
Weaving jointly characters from his nationwide bestsellers Point of Impact and Dirty White Boys, Stephen Hunter's gripping mystery builds to a thrilling climax--and an explosion of gunfire that blasts open the secrets and techniques of 2 generations.
Read or Download Black Light (Bob Lee Swagger, Book 2) PDF
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Extra info for Black Light (Bob Lee Swagger, Book 2)
From a constructivist view, as we have seen, Gary Fireman notes that “Narrative does not merely capture aspects of the self for description, communication, and examination; narrative constructs the self” (2003: 5). Fireman also claims that “the portions of human consciousness beyond the purely somatic—self-awareness, self-understanding and self-knowledge—are products of personal narratives” (4). As argued here, however, the self-awareness generated and communicated by means of narrative applies only to the linguistic, constructed aspect of the self.
When Stanley reaches Meg he begins to strangle her until Goldberg and McCann throw him off. After the lights suddenly go off, Stanley moves toward Lulu, who screams and faints, the result of an apparent assault that has led to the psychoanalytic interpretation of his venting a repressed psychic fear of the father and resentment for the mother (Naismith 2000: 52). From another perspective, Stanley without his glasses may simply have confused Meg for Goldberg and mistaken Lulu for McCann. As we can see, therefore, The Birthday Party uses various dramatic devices to call into question socially constructed identity, attenuate the mind’s conscious content, and intimate the move toward an experience of consciousness devoid of attributes.
In this sense, the art of Pinter’s play and the non-artistic “reality” of Goldberg and McCann operate on the same footing. Because the material, manifest world is nothing but simulation or illusion, any meaning—whether stemming from the world itself or imputed by the artist—is always a product of human creative intelligence. The difference between the meaning generated by Goldberg and McCann and that suggested by Stanley’s invisible background and identity is that the former hinges on a localized position while the latter unlocks the boundless.