By Barbara Hambly
Benjamin January is compelled to commute to Haiti to hunt his family’s misplaced treasure, in an effort to store every thing he holds dear
When Jefferson Vitrack – the white half-brother of Benjamin January’s spouse - turns up on January’s doorstep in the summertime of 1838 claiming he has came across a clue to the whereabouts of the family’s misplaced treasure, January has no hesitation approximately refusing to assist search for it. For the treasure lies in Haiti, the island that was France’s so much ecocnomic colony – until eventually the blood-chilling repression practiced there by way of the whites upon their slaves prompted a savage uprising. The world’s simply Black Republic nonetheless appears to be like with murderous distrust upon any strangers who could set foot there, and January is in no hurry to go.
But while Vitrack is murdered, and makes an attempt are made on January’s spouse and himself, he is familiar with that he has no selection. He needs to search the treasure himself, to attract the unknown killers into the open, a bloody path that leads first to Cuba, then to Haiti, and at last to the key that lies buried with the accursed gold.
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Additional info for Crimson Angel (Benjamin January Series, Book 13)
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.