By Jeannette de Beauvoir
Whilst Martine LeDuc, exposure director for town of Montréal, is summoned into the mayor's workplace, she's pleasantly stunned to discover town is due for a PR coup: a doctoral researcher at McGill collage claims to have stumbled on evidence that the British crown jewels have been saved in Montréal in the course of WWII.
Martine is overjoyed to join the excavation venture, till it seems that the dig's discoveries comprise the skeleton of a guy with diamonds in his ribcage and a gap in his cranium. is that this decades-old homicide best her too a long way into the damaging international of Canada’s neo-Nazi networks, or is there whatever occurring that makes the jewels themselves lethal? Is background ever relatively thoroughly buried?
With urgent own matters crowding into her specialist existence, Martine must clear up not just the puzzle of the jewels, yet a few newer crimes―including one other homicide, a kidnapping, and the operation of an old cult in Montréal―and do it ahead of the previous reaches out to silence her for sturdy.
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Additional resources for Deadly Jewels: A Novel
What, whom, whither, which shall I first lament? Stand! Methinks I feel the frame of nature shake. Cracks not the joints of earth to hear my woes? The youth can only amplify hyperboles to the point of rant, while the older man rejects such pretentious histrionics: Antonio. O boundless woe, If there be any black yet unknown grief, If there be any horror yet unfelt, Unthought of mischief in thy fiendlike power, Dash it upon my miserable head, Make me more wretch, more if thou canst. O, now my fate is more than I could fear, My woes more weighty than my soul can bear.
O wicked butcher, whatsoe'er thou wert, How could thou strangle virtue and desert? Page 21 Ay me most wretched, that have lost my joy, In leesing my Horatio, my sweet boy! 67–80), or into his notoriously patterned aria, over fifty lines long, which later dramatists such as Jonson so delighted to travesty: O eyes, no eyes, but fountains fraught with tears; O life, no life, but lively form of death; O world, no world, but mass of public wrongs. 4–18). He searches for objectification of his grief in the experience of others—in the senex Don Bazulto (who also solicits justice for a murdered son), or, if we include the most famous of the 1602 additions, in art (a painter's recreation of the loss that obsesses him).
Cracks not the joints of earth to hear my woes? The youth can only amplify hyperboles to the point of rant, while the older man rejects such pretentious histrionics: Antonio. O boundless woe, If there be any black yet unknown grief, If there be any horror yet unfelt, Unthought of mischief in thy fiendlike power, Dash it upon my miserable head, Make me more wretch, more if thou canst. O, now my fate is more than I could fear, My woes more weighty than my soul can bear. Wouldst have me turn rank mad, Or wring my face with mimic action, Stamp, curse, weep, rage, and then my bosom strike?
Deadly Jewels: A Novel by Jeannette de Beauvoir