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\"From the creator of Hannibal Lecter and The Silence of the Lambs comes a story of evil, greed, and the consequences of dark obsession. Twenty-five million dollars in cartel gold lies hidden beneath a mansion on the Miami Beach waterfront. Ruthless men have tracked it for years. Leading the pack is Hans-Peter Schneider. Driven by unspeakable appetites, he makes a living fleshing out the violent fantasies of other, richer men. Cari Mora, caretaker of the house, has escaped from the violence in her native country. She stays in Miami on a wobbly Temporary Protected Status, subject to the iron whim of ICE. She works at many jobs to survive. Beautiful, marked by war, Cari catches the eye of Hans-Peter as he closes in on the treasure. But Cari Mora has surprising skills, and her will to survive has been tested before. Monsters lurk in the crevices between male desire and female survival. No other writer in the last century has conjured those monsters with more terrifying brilliance than Thomas Harris. Cari Mora, his sixth novel, is the long-awaited return of an American master.\"--Publisher's description.

This article deals with recent Spanish and Portuguese political television series. Within this sub-genre, it is pertinent to consider the symbolic construction of politics, as well as the differences caused by each series’ geographical adscription. Six Spanish productions have been selected—Isabel (Isabella the Catholic), Carlos Rey Emperador (Charles the Emperor King), La Embajada (The Embassy), Crematorio (Crematorium), Vamos Juan/Venga Juan (Come on, Juan/Let’s go Juan), and El Partido (The Party)—along with three Portuguese productions—A Rainha e a Bastarda (The Queen and the Bastard), Teorias da Conspiração (Conspiracy Theories), and Os Boys (The Boys). The narrative of these audio-visual stories has been examined utilising qualitative content analysis, looking at the plotlines and characters involved. The type of characterisation of politics has been identified by means of the deconstruction of the main characters. The conclusion is that the evaluation is eminently negative, although differential frameworks are present, depending, in particular, on the fiction’s genre, either historical drama, drama-thriller, or comedy.

Recent issues of Antiquity have seen much discussion on the topic of Carthaginian infant sacrifice: was it a Graeco-Roman fiction or did it really happen? There are strongly held opinions on both sides of the argument, with much resting on the age profile of the children interred at the cemetery known as the Carthage Tophet. Here, the authors respond to claims by Smith et al. (2011, 2013) that their ageing of the infants and children was incorrect, and so also by extension was their interpretation that not all interments at the Tophet were the result of sacrifice.

We generally think that death has retreated from contemporary everyday life, withdrawn to the non-places of nursing homes, hospitals, hospices, funeral parlours, crematoria. Graham Swift's Last Orders, with its journey from technologised hospital death to the scattering of the ashes, occupies precisely these non-places of death. J. G. Ballard's Crash, however, provides a counter-example: Crash takes place in the non-places of motorway slip-roads, airport access roads, police-pounds and reservoirs. At the same time, it registers how these spaces and non-spaces are overwritten by various pre-existing scripts of violent death by films, television and newspaper photographs. The essay then demonstrates the ubiquity of death in contemporary life by exploring Tom McCarthy's engagement with accident, trauma and re-enactment in Remainder; Gordon Burns's depiction of tabloid journalism and modern improvised rituals of death in fullalove; the psychogeographic identification of particular sites of death in the work of Iain Sinclair and Peter Ackroyd; and the recognition, in detective fiction, that anywhere can be a site of death. The essay concludes by considering the popularity of forensic-science series and how Silent Witness, Waking the Dead, Cold Case, and CSI present death in its multiple forms for peak-time viewing.

Although recognized as a primary theme in Anton Holban's literature, death was touched on as a collateral matter and sometimes with certain flimsiness by reviewers. Our goal in this study is to investigate the means of death representation in Anton Holban's literary work from a double perspective - literary and thanatological. Using literary analysis and critique, and relying on some anthropological and philosophical theories, the present research demonstrates that there are two poles of literary representation of death in Holban's literature - a literary-aestheticized (on which previous critical analyses were focused) and the existential-ontologized (neglected by those analyses), poles between which field of power it is necessary to discuss the binomial relationship love-death, specific to holbanian writing. We examine as well the features of death literary representation and its significant patterns: symbolized death, imagined death and narrated death. An innovative and difficult element of this study, assuming the incompletion, is tracing some lines between Holban's literature - under the sign of self-fiction - and the alleged decision of writer's cremation through the analysis of some literary representations of death that could be reflexes of a cremational imaginary. [PUBLICATION ABSTRACT]

\"This is an odd assemblage of plays, for which gathering-together there is no overarching thematic justification. Because several of the plays deal with death, and one of the death-plays deals as well with money, and the last play deals with taxation, we're calling the book Death Taxes. But all plays, directly or indirectly, are about death and taxes, so this title explains little...\" -Tony KushnerThis stunning new collection by Tony Kushner, the Pulitzer Prize-winning author ofAngels in America, showcases his masterful explorations of form and style. A rich and vibrant collection from one of our greatest American playwrights,Death Taxesincludes the following treasure trove of works: InReverse Transcription: Six Playwrights Bury a Seventh, six playwrights come together to bury their contemporary and friend, Ding. They discuss and brood on their lives, writings, and loves. Theatre critic Dr. David Nowlan calls Reverse Transcription \"rich in allusion, elegant in language and satirically funny\" (Irish Times). Hydriotaphia or The Death of Dr. Brownebegins at one man's deathbed and becomes an epic farce spanning Heaven and Earth.\"Karl Marx said that history occurs first as tragedy and then as farce. InHydriotaphia, Tony Kushner says that history is tragedy and farce at once. Ben Jonson meets Bertolt Brecht in this brilliantly funny and dark knockabout play of the rise of the entrepreneurial spirit. As in all of Kushner's work, the play teems with ideas.\" -Robert Hass, former U.S. Poet Laureate\"The play flourishes Kushner's trademark ability to mix up wildly diverse tonalities and ideas - bawdy humor, theological and class warfare debate, fourth-wall-breaking, dizzying monologues, fantasy and domestic intrigue all whirl like a juggler's pins.\" -Variety Inspired by Shakespeare's \"Sonnet 75,\"Terminating or Sonnet LXXV\"is a delirious, scatological encounter between a psychotherapist, her madly besotted patient and their lovers, which contains some dizzyingly fine writing\" (Variety).\"Tony Kushner at his most fanciful and eclectic ... fierce, strange and clever theatre.\" -Evening Standard East Coast Ode to Howard Jarvisis a one-man show featuring two dozen characters' involvement in a tax evasion scheme.\"Surreal, confrontational and funny.\" -Prospect Magazine(UK)\"There is such clarity conveyed not just in the language but in the rhythm and the nuance. Ideas and phrases honey drip from the script. Listening is an indulgence.\" -The Stage Notes on Akibahas been performed at The Jewish Museum and other venues during Passover. Fictionalized versions of playwright Tony Kushner and director Michael Mayer reimagine aspects of Jewish history, tradition and myth. G. David Schine in Hellwas originally published inNew York Times Magazine. Featuring an appearance by Kushner's fictionalized Roy Cohn ofAngels in America, this short play revisits Cohn and several other American Conservatives of the McCarthy era as they adjust to an afterlife in Hell.

(84) Concentration camps, crematoria, the technical sophistication in the organization of the Holocaust, all forced a generation to think its own conditions of possibility, which involved generating thought around this unspeakable factum of death which took place in the world at the same time that it subtracted itself from that world. Whereas for Freud, the rupture between fiction and death made life once again \"interesting,\" giving it \"once more [. . .] its full significance,\" Agamben identifies Auschwitz as the place where a new administration of that difference between life and death makes its appearance: \"an unprecedented absolutization of the biopower to make live intersects with an equally absolute generalization of the sovereign power to make die, such that biopolitics coincides immediately with thanatopolitics\" (83).