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The book is a gathering of commentary from scholars on social capital and how it relates or may not relate to civil society. It is an academic's book. It is an important book for anyone who wants to consider Social Capital at a deeper level.
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For "The Blank Page," the third novel in the Mario Balzic series, author K. C. Constantine has apparently settled on a specific literary modus operandi. Lt. Harry Minyon, the blundering blowhard who was in charge of the local State Police barracks in the previous mystery "The Man Who Like to Look at Himself" has been temporarily replaced by Lt. Walker Johnson, who is more in the mold of Lt. Phil Moyer from "The Rocksburg Railroad Murders" in terms of providing support for Balzic rather than an constant impediment in the search for the murderer. By removing the set of stereotypical clowns getting in the way of Balzic's investigation, Constantine is able to keep the story's focus on the chief's interrogative skills. In the current dichotomy represented by television's "Law & Order" and "C.S.I." franchises, Constantine's Balzic is clearly in the camp of the former. The focus here is not on forensic science or the ability to beat and/or shoot up bad guys, but rather on asking the right questions in order to gather the necessary information. Reading these books is waiting for the key piece of the puzzle to show up so that everything can fall into place, at which point Balzic can go bring in the murderer. These novels are not so much about police procedure as they are the lost art of interrogation. Of course, in Constantine's hands these interrogations rarely take place in a special room at the police station.
"The Blank Page" is the best of the first three Mario Balzic novels, although readers who are captivated by some of the more colorful characters in Rocksburg may well wish Father Mazzo and Mo Vulcanas were more involved in the story as they were respectively in the first two books. Personally, I would like to see a bit more of Balzic's family, since they tend to provide nice counterpoints to the crime being investigated. But the most important other character in these novels to this point in the series clearly ends up being the murderer. I would not go so far a to say Balzic shows compassion for the murderers he catches (with the exception being what happened in the second novel), but there is certainly a strong sense of empathy and understanding towards the story they have to tell. But then, it is that ability to look at things from the perspective of others that is Balzic's greatest asset when it comes to solving crimes.
Comments on recurring concerns: "The Blank Page" was originally published in 1974, which helps to explain the original art on the hardcover edition with is a photograph of a woman's naked torso reproduced four times in pop art style with an empty rectangle representing the titular item on her stomach. Besides any concerns about having a picture of a naked breast reproduced four times on a book cover, there is the problem that it suggests the crime in this novel involves some sort of lurid sex act. However, I tend to think this is more an attempt at titillation by the marketing department for the Saturday Review Press rather than a red herring intended to throw readers off the track of the mystery. The other thing to be pointed out is that Constantine does not believe in chapters, so if you are in the read "x" number of chapter before bedtime school of reading, be forewarned. Constantine's books are ideal for those of us living the commuter lifestyle.
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However, the most important development in these last couple of novels has been the return of Balzic's family to prominence. Of course, now that family is reduce to Ruth, but that is more than enough. It seems she has unilaterally dissolved the marriage "in search of a better, more mutually satisfying relationship which I want to call a partnership." In the wake of Marie Balzic's death it turns out that not only did Mario lose his mother and Ruth her best friend, but also the couple lost the person that kept them connected to each other.
But our hero has other problems. The Rocksburg police force is woefully undermanned, the weather is unbearably hot, a strange woman tells a bizarre story about her violent husband going after a truck driver, and there is a crazy writer named Myushkin who pontificates without end at Balzic's favorite watering hole. To top this all off, the 64-year-old Balzic keeps flashing back to being a young Marine on the beaches of Iwo Jima.
"Bottom Liner Blues" is the 10th novel in this series by K. C. Constantine. The charm has always been the characters and the dialogue more than the mysteries or police procedure. Constantine has an excellent ear for the working-class dialect of Middle America and I can just picture the author working them out aloud rather than merely typing them on the page. Constantine also does not play favorites, more often than not giving the best lines and the most profound insights to characters other than Mario Balzic himself. In this one there is much more of a sense of all the pieces coming together than we have seen previously in these wonderful looks at the human comedy.
The selected pictures and plans are introduced by interesting descriptions and comments. The two architects are still unknown to the international public, and this book introduces to their inspiring art and visionary interpretation of various type of buildings, from urban office buildings, such as Milan buildings in the central via Larga, to mid-class apartment buildings with fascinating mathematical positioning of the window plan, to sub-urbian stylish houses with asymetrical, and impressive, distribution of spaces. THeir remarkable linearity, with intense analysis of the cultural background surrounding, is well discovered by the book, that I suggest to any reader of architectural design.