A dark, brutal ride through the underbelly of LA." —Anthony Horowitz, author of Magpie Murders In this follow-up to Nicolás Obregon’s critically acclaimed Blue Light Yokohama, Inspector Iwata returns—in a murder case in his new home of Los Angeles. After a brutal investigation ripped apart his life, Kosuke Iwata quit both his job as a detective with the Tokyo Police Department and his country, leaving Japan for the sunnier shores of Los Angeles, California. But, although he’s determined to leave his past behind, murder still follows him. Having set up shop as a private investigator, Iwata is approached by someone from his old life. Her daughter has been killed and the case has gone cold. Out of loyalty, Iwata agrees to take on the case and reinvestigate the homicide. However, what seems initially like a cold-blooded but simple murder takes a complex turn when a witness, a vagrant, recalls the killer's parting words: “I’m sorry.” From the depths of Skid Row to the fatal expanse of the Sonoran Desert, Iwata tracks the disparate pieces of a mysterious and heartbreaking puzzle. But the more he unearths, the more complex this simple act of murder becomes. Lives untangle, fates converge, and blood is spilled as Inspector Iwata returns.
Alton's Paradox builds upon extensive archival and primary research, but uses a single text as its point of departure—a 1934 article by the Hungarian American cinematographer John Alton in the Hollywood-published International Photographer. Writing from Argentina, Alton paradoxically argues of cine nacional, "The possibilities are enormous, but not until foreign technicians will take the matter in their hands and with foreign organization will there be local industry." Nicolas Poppe argues that Alton succinctly articulates a line of thought commonly held across Latin America during the early sound period but little explored by scholars: that foreign labor was pivotal to the rise of national film industries. In tracking this paradox from Hollywood to Mexico to Argentina and beyond, Poppe reconsiders a series of notions inextricably tied to traditional film historiography, including authorship, (dis)continuation, intermediality, labor, National Cinema, and transnationalism. Wide-angled views of national film industries complement close-up analyses of the work of José Mojica, Alex Phillips, Juan Orol, Ángel Mentasti, and Tito Davison.
The growing interest in investment in Latin America - particularly in commodities production and real estate development - has increased the use of trusts as investment vehicles throughout Latin America. Written for the English-speaking practitioner, the book covers Argentina, Belize, Bolivia, Brazil, Chile, Colombia, Costa Rica, Ecuador, El Salvador, Guatemala, Honduras, México, Panamá, Paraguay, Perú, Uruguay and Venezuela and provides a practical, clear, and thorough explanation of trusts as legal vehicles for investment in Latin American countries. Trusts in Latin America provides a comprehensive, comparative review of statutes, case law, and examples of trusts in Latin America, and also highlights differences between these countries and common-law systems.
A dark, brutal ride through the underbelly of LA." —Anthony Horowitz, author of Magpie Murders In this follow-up to Nicolás Obregon’s critically acclaimed Blue Light Yokohama, Inspector Iwata returns—in a murder case in his new home of Los Angeles. After a brutal investigation ripped apart his life, Kosuke Iwata quit both his job as a detective with the Tokyo Police Department and his country, leaving Japan for the sunnier shores of Los Angeles, California. But, although he’s determined to leave his past behind, murder still follows him. Having set up shop as a private investigator, Iwata is approached by someone from his old life. Her daughter has been killed and the case has gone cold. Out of loyalty, Iwata agrees to take on the case and reinvestigate the homicide. However, what seems initially like a cold-blooded but simple murder takes a complex turn when a witness, a vagrant, recalls the killer's parting words: “I’m sorry.” From the depths of Skid Row to the fatal expanse of the Sonoran Desert, Iwata tracks the disparate pieces of a mysterious and heartbreaking puzzle. But the more he unearths, the more complex this simple act of murder becomes. Lives untangle, fates converge, and blood is spilled as Inspector Iwata returns.
MÉFIEZ-VOUS DES ZONES D’OMBREJAPONAISES... Iwata, flic solitaire au passé trouble, ne semble pas le bienvenu à la crim de Tokyo. Non seulement on le charge de remplacer un officier qui vient de se suicider, mais on lui confie une enquête dont personne ne veut : le massacre d’une famille coréenne dans un quartier malfamé. Épaulé par la jolie Sakai, Iwata comprend vite que ce meurtre ressemble à un étrange sacrifice humain : le coeur du père a été arraché, et un soleil noir est dessiné sur le plafond. Bientôt, la veuve d’un grand juge est retrouvée morte dans les mêmes circonstances. Un tueur en série doit être aux manettes – le tueur au Soleil Noir. Mais qui peut-il bien être ? Un féru de rituels anciens ?Le membre fou d’une secte obscure ? Quand l’enquête piétine tout en faisant la une des journaux, Iwata se fait renvoyer, mais il n’abandonne pas son investigation pour autant... Dans une veine à la True Detective, un polar atmosphérique qui nous dévoile la face obscure d’une société féroce. « Un excellent polar noir à la grande humanitéet à l’intrigue passionnante dans un Japon méconnu. »Astrid Hie-Desgranges, libraire à la Fnac de Toulouse « Ici pas de jardins zen, ni de cerisiers en fleurs, plongez dans un Tokyosombre, sale et corrompu ! Une véritable descente en enfersublimée par l’écriture électrique de Nicolás Obregón !Pour un premier roman, c’est un coup de maître ! »Michael Corbat, libraire à l’Espace Culturel Leclerc de Belfort
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