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Well that was totally gripping and almost hair-raising in the true sense. What is also exciting is that this is the beginning of a series, the next David Hunter book comes out in hardback in August, paperback early … I can hardly wait. Similar this month: Patrick Lennon. Shortlisted for the Duncan Lawrie Dagger. Not one to read if you're squeamish, or if you're at home alone, this is a brilliant mystery from a debut novelist. Fantastically well-written, this forensic thriller was inspired by a trip to a place called The Body Farm. It has a great plot, convincing characterisation and hopefully won't be the last we see of Dr David Hunter.

Once a busy hospital, St Jude's now stands derelict, awaiting demolition. When a partially mummified corpse is found in the building's cavernous loft, forensics expert Dr David Hunter is called in to take a look. He can't say how long the body's been there, but he is certain it's that of a young woman. And that she was pregnant. Then part of the attic floor collapses, revealing another of the hospital's secrets: a bricked-up chamber with beds inside.

And some of them are still occupied. And it soon becomes clear that St Jude's hasn't claimed its last victim. Chilling, visceral and masterfully paced, Simon Beckett's new crime thriller will leave you gasping. For Hunter, what began as a straightforward case is about to become a twisted nightmare. Top forensics expert Dr David Hunter is facing an uncertain future - his career hangs in the balance and his personal life has taken a turn for the worse.

So when he gets a call from Essex police, it comes at the perfect time. A badly decomposed body has been found in the mudflats and salt marshes of the Backwaters. Could it be linked to two unsolved missing-person cases? But as these desolate wetlands begin to give up their grisly secrets, more remains are discovered. With its eerie, claustrophobic sense of place, authentic forensics and explosive, heart-in-mouth moments, The Restless Dead is a masterclass in crime fiction. It will float only for as long as there is air in its lungs, before gradually sinking to the bottom as the air seeps out.

If the water is very cold or deep, it will remain there, undergoing a slow, dark dissolution that can take years. But if the water is warm enough for bacteria to feed and multiply, then it will continue to decompose. Gases will build up in the intestines, increasing the body's buoyancy until it floats again. And the dead will literally rise. So when he gets a call from Essex police, he's eager for the chance to assist them. A badly decomposed body has been found in a desolate area of tidal mudflats and saltmarsh called the Backwaters.

Under pressure to close the case, the police want Hunter to help with the recovery and identification. It's thought the remains are those of Leo Villiers, the son of a prominent businessman who vanished weeks ago. To complicate matters, it was rumoured that Villiers was having an affair with a local woman.

And she too is missing. But Hunter has his doubts about the identity. He knows the condition of the unrecognizable body could hide a multitude of sins. Then more remains are discovered - and these remote wetlands begin to give up their secrets. With its eerie, claustrophobic sense of place, viscerally authentic detail and explosive heart-in-mouth moments, The Restless Dead offers a masterclass in crime fiction and marks the stunning return of one of the genre's best.

Er hatte die alte Frau um Geld angebettelt und dann erschlagen. Und das am Heiligabend. Als ob er geahnt htte, dass der ihm das Weihnachtsfest verderben wrde SchneefallIn den Schottischen Highlands wird ein Serienmrder gejagt. Dann findet man zwei Leichen im Schnee. Und niemand hrt gerne, was der forensische Anthropologe dazu sagt Zwei Weihnachtskrimis mit David Hunter.

Hunter is back! Sein fnfter Fall fhrt Dr. Aber die wahren Gefahren lauern nicht in der Tiefe, sondern dort, wo er sie am wenigsten erwartet. Seit ber einem Monat ist der jhrige Leo Villiers spurlos verschwunden. Als an einer Flussmndung zwischen Seetang und Schlamm eine stark verweste Mnnerleiche gefunden wird, geht die Polizei davon aus, Leo gefunden zu haben.

Der Spross der einflussreichsten Familie der Gegend soll eine Affre mit einer verheirateten Frau gehabt haben, die ebenfalls als vermisst gilt: Leo steht im Verdacht, Emma Darby und schlielich sich selbst umgebracht zu haben. Denn tags darauf treibt ein einzelner Fu im Wasser, und der gehrt definitiv zu einer anderen Leiche.

Es gehrt Andrew Trask, dessen Familie ihm mit unverhohlener Feindseligkeit begegnet. Aber sie scheinen nicht die Einzigen im Ort zu sein, die etwas zu verbergen haben. Und noch ehe der forensische Anthropologe das Rtsel um den unbekannten Toten lsen kann, fordert die erbarmungslose Wasserlandschaft erneut ihren Tribut.

In these words Belacqua justifies his laziness and, presumably, his taciturnity. God apparently disagreed, as Belacqua is discovered while Virgil is explaining the ascent of Mount Purgatory towards the Earthly Paradise.

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He and Virgil then notice a group of neghittosi indolent, lazy , among whom one attracts special attention. What was he doing now, how was he feeling? This moral problem is also figured through Dante, as well as through the lobster that Belacqua has bought for his aunt for supper. This seems monstrous to Belacqua, but of course, it is simply the way lobsters are cooked, his aunt rejoins. The end is famous. Well, thought Belacqua, it is a quick death, God help us all. It is not. Beckett , 21 Paraphrasing a famous question of Maurice Blanchot, who speaks this final line? It acts as a sort of missed epiphany, or rather an ironic epiphany that is for the reader, above the heads of the characters in the narrative as sometimes in Dubliners , revealed in form and theme, much as the epiphany became for Joyce in Ulysses.

It would take a permanent exile to France and to French for Beckett from on to achieve that break, but Dante would not be lost. This project is certainly unlike that of Dante or Joyce, and indeed marks a very different relationship with the shared precursor than Joyce manifests. Here Beckett does not share in the Dantean inheritance. Silence is relatively unimportant in the Inferno, compared to Paradiso, but a few passages are worth mentioning.

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This long silence of Virgil alludes not simply to the years he has been dead Virgil 70 B. Though Virgil is consigned to Limbo because he could at best [Hollander ] only unwittingly prophesy Christianity e. At the same time, the link Dante establishes between himself and his illustrious pagan guide, is poetic. There is a great gap in poetic genius from Virgil on that Dante sees himself filling.

James Joyce, in the same way, will see himself in a direct line, not so much of descent as of communion, with Dante and Shakespeare, though also with Homer much more than with Virgil Dante did not know Homer directly. So the silence is one to lament, meaningful as negative, as a judgment on the corruption of contemporary Italy. But it is also a questioning silence, a call: who will take upon himself the burden of poetry, of genius?

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The other main episodes of silence in the Inferno fall into two catego- ries important throughout the Commedia. A good example is in Canto XXX where the pilgrim is ashamed at being admonished for his overly keen interest in a squabble between two falsifiers, Master Adam and Sinon in 10th valley of Malebolge — Much more important are the points where Dante calls into question the limits of representation, and indeed of human comprehension.

In the Inferno, there are two main examples. The rhetorical figure adynata here approaches the sublime; yet the poet must speak. While Beckett will undertake this impos- sible task in a very different way from Dante, he will have inherited a specific poetic problem with the highest possible consequences for thinking the very purpose and worth of art.

This is a silence of horror. Merely merely! Purgatorio has a number of episodes of silence interesting for understand- ing the complexity and intimacy of the relationship between Dante and Virgil. One might, with the biographers, map this on to the development of the relationship of Joyce and Beckett in Paris, including their famous shared silences which doubtless began, on the part of the ephebe, in fear and trembling before the master.

In any case, in Dante this relation- ship culminates in the most curious silence in the Canticle, that of Canto XXI where Virgil silently silences Dante upon meeting Statius. As the lesser Latin poet states his willing- ness to spend or have spent longer in purgatorial penance if he could only meet Virgil [or rather, if only he could have met Virgil alive], the latter tries to signify to Dante to keep mum, in hopes of circumventing the opportunity for Statius to have such a deviant wish granted.

Despite his good intentions, the pilgrim cracks a smile—rather a more important one than that which Beckett found so amusing in Purgatory IV— and Statius demands the reason and discovers his master. The need for Beatrice as guide becomes clear or in fact, in this case, for St.

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He was always adding to it. Dante realized, upon his vision of the Earthly Paradise, the need to leave Virgil behind in order to move onwards and upwards in his spiritual-aesthetic journey; Beckett likewise realized, upon his dark vision in and equipped with the scars of his war experience, the death of his father Bill in , and so forth , the need to leave Joyce behind in his onwards and. The principle explorations of silence in the limits of poetry, human speech, and human imagination occur in the canticle of Paradiso.

At the beginning of Canto I, the very difficulty of the idea of a poem about Paradise is put into question.