An audacious transformation in prose of fourteen Modernist films From film to film, Jeffrey DeShell follows a forty-something failed film studies academic—The Professor. While The Professor is reinvented with each new chapter (or film), what remains is DeShell’s inventive deconstruction and representation of modern cinema. At times borrowing imagery, plot, or character elements, and at times rendering lighting, rhythm, costuming, or shot sequences into fictional language, The Professor’s journey sends him from the Southwestern town of Pueblo, Colorado, into the role of rescuer as he aids an attempted-rape victim, and finally to Italy. Ultimately though, The Professor is left alone, struggling to reconcile the real world with his life in cinema.
A crime novel loosely based on the masses and songs of the 17th century Flemish composer Pierre de la Rue Masses and Motets is a tale composed of four basic interwoven threads, corresponding to the four-part choral writing of Pierre de la Rue’s service music. The first thread comes from the diaries of a recently murdered priest, Father Andrea Vidal, former secretary to the notorious Father Marcial Maciel. The second thread is the mystery story, a police procedural focusing on the efforts of Denver detective Francesca Fruscella to solve the murder and retrieve Vidal’s diary. The third strand is the story of Father Signelli, a priest sent from the Vatican to “fix” the murder. And the fourth strand explores the best and worst of Catholic culture: art and music created by Catholic artists and sexual abuse by Catholic priests. Vidal’s narrative is the story of a priest who systematically, sincerely, and hopefully tries to destroy his very self through sex, drinking, and drugs in order to get closer to God. Fruscella’s story is that of a middle-aged, female detective trying to solve a ghastly murder while constantly battling the sexism of the Catholic Church. Signelli’s tale is that of an older career priest who, in doing the bidding of his superiors to fix problems that threaten the order of the Church, has perhaps compromised his own soul. By no means a simple narrative of wicked priests, this is a story of men who desperately want to believe, as well as a story of what this belief might shelter and cost.
A fierce portrait of memory, family, and regret The Trouble with Being Born is a stark meditation on memory and the struggle-both necessary and impossible-to remember.
On the surface a murder mystery—a detective’s search for the killer of five people in Denver—Expectation is also, among other things, a meditation on the relationship between language and music. In his newest novel, Jeffrey DeShell draws on the musical innovations of Arnold Schoenberg—by turns traditional, serial, and atonal—to inform his grammar and language. Moving progressively through specific Schoenberg compositions, DeShell complicates the surface of his text into lyrical derivatives, all the while drawing us into a murder mystery like no other as Detective Francisca Fruscella pursues both the killer and her own complicated personal history. By turns rapturous, rigorous, and gripping, Expectation is a thriller of another kind—and a bold venture to the limits of the mystery genre and language itself.
If literature is to survive as literature, it must be freed from its subjugation to other disciplines, other concerns, and other projects. If Poe's fiction is to survive in any meaningful way, it must be liberated from the critical tradition that sees nothing in it but confirmation of its own theories.
A fierce portrait of memory, family, and regret The Trouble with Being Born is a stark meditation on memory and the struggle-both necessary and impossible-to remember.
On the surface a murder mystery—a detective’s search for the killer of five people in Denver—Expectation is also, among other things, a meditation on the relationship between language and music. In his newest novel, Jeffrey DeShell draws on the musical innovations of Arnold Schoenberg—by turns traditional, serial, and atonal—to inform his grammar and language. Moving progressively through specific Schoenberg compositions, DeShell complicates the surface of his text into lyrical derivatives, all the while drawing us into a murder mystery like no other as Detective Francisca Fruscella pursues both the killer and her own complicated personal history. By turns rapturous, rigorous, and gripping, Expectation is a thriller of another kind—and a bold venture to the limits of the mystery genre and language itself.
A crime novel loosely based on the masses and songs of the 17th century Flemish composer Pierre de la Rue Masses and Motets is a tale composed of four basic interwoven threads, corresponding to the four-part choral writing of Pierre de la Rue’s service music. The first thread comes from the diaries of a recently murdered priest, Father Andrea Vidal, former secretary to the notorious Father Marcial Maciel. The second thread is the mystery story, a police procedural focusing on the efforts of Denver detective Francesca Fruscella to solve the murder and retrieve Vidal’s diary. The third strand is the story of Father Signelli, a priest sent from the Vatican to “fix” the murder. And the fourth strand explores the best and worst of Catholic culture: art and music created by Catholic artists and sexual abuse by Catholic priests. Vidal’s narrative is the story of a priest who systematically, sincerely, and hopefully tries to destroy his very self through sex, drinking, and drugs in order to get closer to God. Fruscella’s story is that of a middle-aged, female detective trying to solve a ghastly murder while constantly battling the sexism of the Catholic Church. Signelli’s tale is that of an older career priest who, in doing the bidding of his superiors to fix problems that threaten the order of the Church, has perhaps compromised his own soul. By no means a simple narrative of wicked priests, this is a story of men who desperately want to believe, as well as a story of what this belief might shelter and cost.
If literature is to survive as literature, it must be freed from its subjugation to other disciplines, other concerns, and other projects. If Poe's fiction is to survive in any meaningful way, it must be liberated from the critical tradition that sees nothing in it but confirmation of its own theories.
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