By Jonathan Kellerman
Psychologist Dr. Alex Delaware meets appealing and emotionally fragile television actress Zelda Chase while known as upon to guage her five-year-old son, Ovid. Years later, Alex is abruptly reunited with Zelda whilst she is involuntarily dedicated after a strange psychotic episode. almost immediately after Zelda’s liberate, an already unhappy state of affairs turns tragic whilst she is came upon lifeless at the grounds of a palatial Bel Air property. Having skilled good enough of L.A.’s darkish aspect to acknowledge the odor of evil, Alex turns to his pal LAPD Lieutenant Milo Sturgis for assist in checking out who ended Zelda’s damaged life.
while, Alex is stuck up in one other quest: the quest for Zelda’s lacking son. And whilst different sufferers vanish from an analogous upscale local, fear turns to terror.
As Alex struggles to piece jointly the short upward thrust and steep fall of a beautiful, proficient actress, he and Milo unveil shattered desires, the corruption of a kinfolk, and a gruesome betrayal of innocence. With every one devastating revelation and damning clue, Alex’s exceptional brain is challenged as by no means before—and his decision grows to work out a killer caged and the reality let out.
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Additional resources for Breakdown (Alex Delaware Series, Book 31)
Sample text
3. The translation is taken from the fragment of the letter on a "self-portrait" in The Renaissance Philosophy of Man, eds. E. O. H. Randall, Jr. (Chicago: Univ. of Chicago Press, 1948), pp. 34-35. 4. Epistle to Posterity, trans. Morris Bishop, p. 7. 5. All quotations from On His Own Ignorance and That of Others are taken from The Renaissance Philosophy of Man, pp. 47-133. 6. Cicero's critique of Socrates is to be found in De oratore, III, xvi, 60-61. The admission by the Sophist Gorgias that rhetoric is "the kind of persuasion which produces belief, not knowledge" is found in Gorgias 454e.
This means that a description of his thought is at the same time a description of the broad intellectual horizon within which he moves. It also means that a discussion of his ideas turns into what could be called the cartography of his memories and passions. A useful point of departure for catching a glimpse of the contours of his thought and its provisional crystallization is his Epistle to Posterity where we are told that he is versed in poetry and in moral philosophy, in classical as well as sacred literature, from that of St.
H. Atkins, Literary Criticism in Antiquity, 2 vols. (Cambridge: Cambridge Univ. A. S. ), Critics and Criticism (Chicago: Univ. of Chicago Press, 1952); Richard Robinson, Plato's Earlier Dialectic (Oxford: Clarendon, 1953); Rupert C. Lodge, Plato's Theory of Art (New York: Humanities Press, 1953); Paul Friedlander, Platon, 2 vols. (Berlin: W. G. Keller, 1954); John Gould, The Development of Plato's Ethics (Cambridge: Cambridge Univ. K. Wimsatt and C. Brooks, Literary Criticism. A Short History (New York: Knopf, 1957); Hermann Koller, Die Mimesis in der Antike: Nachahmung Darstellung Ausdruck (Bern: A.