Download A Morning for Flamingos (Dave Robicheaux Series, Book 4) by James Lee Burke PDF

By James Lee Burke

Clutching the shards, of his shattered lifestyles, Cajun detective Dave Robicheaux has rejoined the recent lberia police force.

His accomplice is dead--slain in the course of a condemned prisoner's bloody flight to freedom that left Robicheaux severely wounded and reawakened the ghost of his haunted, violent past.

Following the path of the escaped convicts, Robicheaux is quickly drawn again to New Orleans.But this time, the stakes are even higher.He's operating for the DEA undercover in an try and incriminate Tony Cardo, a clinically insane drug lord.But all Robicheaux's fairly obtained is revenge at the brain. And he'll in basic terms be chuffed while the killers who upended his lifestyles were delivered to justice.

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Extra info for A Morning for Flamingos (Dave Robicheaux Series, Book 4)

Sample text

The turning of literature away from life that Martin Green detects in the post-war period shifted the emphasis in modernist art from a revolution of the world to a revolution of the word. In "The Dehumanization of Art" (1925) Ortega praised the modernist movement for its ability to dehumanize art. Moreover, "Modern art," he observed, "will always have the masses against it. It is essentially unpopular; moreover, it is antipopular" (5). 42 Modern artists, argued Ortega, evince a "will to style" ("Dehumanization" 25); hence, seminal modernist commentators such as Eliot, LA.

With the onset of the Depression, however, these same figures became "acutely tower conscious" (Woolf 171). 25 In some cases, as with Auden, this commitment was later apologetically abandoned and largely disowned. Day Lewis and Spender embraced the Communist Party, while Greene remained politically ambivalent, sympathetic to ideals of social change but reluctant to tie himself to any single political platform. In later years, Greene's commitment to the Left, which solidified after visits to Vietnam in the 1950s, was to be considerably stronger than that of his contemporaries in the thirties (Adamson, Edge 117, 133).

Indeed, Greene thought Auden "the finest living poet" precisely for this reason; he admired him as "a popular poet - as distinct from a popular versifier ... [who put] no barrier between himself and his public. The obscurity is where it should be, in the layers of suggestion under the lucid surface" (Comments 29). Auden's was not the only voice in the 1930s, but it was an influential one heard not only by those closest to him (Spender, Day Lewis, MacNeice, Isherwood, and Edward Upward) but also by novelists such as Rex Warner, Orwell, and Greene.

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