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They consult with Nero Wolfe, and he undertakes to relieve their fears for an obscene fee. Wolfe feels that all he needs is the answers to three questions and he can corkscrew a confession out of the Literary Avenger. Before Wolfe can pull it off, his target gets himself arrested for the murder of a fourth member of the League, and it looks like an open and shut case. Wolfe stands to lose his fee. If the Avenger gets electrocuted for the fourth murder, the League won't owe him a cent.
Archie Goodwin, Wolfe's confidential assistant, sees the problem quite simply. All Wolfe has to do is exonerate the Literary Avenger in the fourth murder and get confessions to the first three. The pair of detectives travels a complex path to achieve Archie's simple solution. Archie gets poisoned, Wolfe gets kidnapped, and it all culminates in one of the most Machiavellian maneuvers ever to spring from Wolfe's fertile imagination.
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Some of the definitions are simply wrong, in fact some are so far off that you will wonder if Andre-Driussi perhaps is referring to a condensed, abridged, and slightly altered version of the series. Some very minor terms and characters mentioned in passing only once in the series are described here in some detail, while some important terms, places, and incidents integral to the storyline (such as the Torturer's Guild/Order of the Seekers for Truth and Penitence, to which Severian belonged) are not listed at all.
Many of the definitions are, well, stretched. This book would be less than half the current size if you threw out all of the example sentences. For instead of just giving the definition, pronunciation and etymology of the listed term, the entry in many cases also gives the full sentence (from the book) in which the word was used. This is not necessary, since the entry also pinpoints the book, chapter, and page in which the term was used in the first place. Takes up a lot of space.
Still, this book will save you from browsing through stacks of dictionaries looking for that obscure term.
The definition will not always identify what language the word is, but the careful reader can soon learn to tell if it's Greek, Latin, French, or Spanish (as most of the "foreign" words here are). Some terms are defined in detail; they contain many examples of the word (and sentences/book excerpts), with real historical anecdotes, mythological references, hypotheses, comments, and squiggly line drawings. Some entries are short and abrupt: "marge: margin. (IV, chapter 13, 86)". Sometimes there is no definition at all; all you get for the entry is the sentence the word is in, and the location of the word. I found that rather odd. In some entries, more emphasis is given to explaining the mythological or historical figure rather than the book character (Wolfe named a lot of his characters after saints and Biblical characters).
Naturally, this book is full of spoilers. If you aren't at least halfway though the New Sun series, be very careful using Lexicon Urthus!
This book has been useful to me, but it's also full of stick-um notes and corrections I had to add myself. It didn't quite do Wolfe's masterpiece justice.
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Most of the authors in this anthology recognize that ghosts aren't that frightening in this day and age, so instead of an anthology of half-rate horror, this is actually a mixture of subtle horror and mythic fiction. Richard Christian Matheson and Michael Marshall Smith set the tone with the opening tales. Matheson's "City of Dreams" is a tale of horror, not because anything nasty happens to the protagonist, but because the best of intentions lead to true tragedy. And Smith's "Charms" is a touching (but not sentimental) tale of urban fantasy that could fit well among Charles de Lint's Newford tales.
Speaking of de Lint, he provides one of the two most pleasant surprises in the collection, as his "The Words that Remain," a twist on a classic urban legend, not only is sweet, but is a rare Newford tale that doesn't require the reader to be familiar with ten years of backstory. Setting the tale outside of Newford, and getting rid of the alternating first and third-person narration that had bogged down so many previous Newford tales has led to the most enjoyable de Lint story in ages.
The other surprise is Ray Garton's "The Homeless Couple," quite possibly the best piece of fiction Garton has ever written. Like de Lint, Garton's ending is utterly predictable, but the road he takes in getting there, and the parallel tragic lives of the protagonist (who morphs, over the course of 20 pages, from an unsympathetic archetype into a truly sympathetic hero). Garton, normally one of the best at telling novels of terror, makes a wonderful shift this time.
The actual tales of terror in this collection are no less impressive. The always-amazing Graham Joyce, in "Candia," provides his own nasty little tale of folks trapped in their own personal hells. Ian McDonald and Mark Morris take the same twist in two different, but equally horrific, directions. And Terry Lamsley's "His Very Own Spatchen" is a fun little tribute to the classic DC House of Mystery comics.
The cream of the horror crop is Gene Wolfe's "The Walking Sticks," a tale that presents as untrustworthy a narrator as in any Edgar Allan Poe tale. Wolfe's tale nicely mixes personal madness with ancient hauntings. Like Garton's story, expect to find this one reprinted in any number of "Year's Best" collections next year.
There are a few stumbling blocks. The McDonald and Morris stories, given their similarities, really should have been placed far apart, not next to each other. Ramsey Campbell's "Return Journey" is almost deliberately bad (the only horror being the reading experience itself), and Poppy Z. Brite's "Nailed," although completely readable, simply fails to break any new ground (a bit of a disappointment from such a consistently groundbreaking author). Still, Crowther (who contributes a very nice story with Tracy Knight) has assembled some great authors, and Taps and Sighs , added to his earlier Touch Wood and Dante's Disciples , establishes Crowther as one of today's top editors.
I found that I championed the more Twilight Zone/trick ending stories over the more experimental ones. An example of this is Thomas F. Monteleone's contribution, "The Prisoner's Tale, versus Graham Joyce's "Candia". Monteleone excellently delivers a straight ahead tale of one prisoner's chance at freedom. Joyce just delivers a confusing nonlateral tale of deja vu.
Poppy Z. Brite shows why she is a favorite among the horror sect in "Nailed". A revenge tale with some voodoo thrown in is precise and perfectly laid out and ended. In Ramsey Campbell's "Return Journey", we get a time travelling train that is convuluted and unclear.
Graham Masterton gives us a look at what happens to the past if you dare forget it in the terrific, "Spirits of the Age". ; scary as well as thought-provoking is Ray Garton's "The Homeless Couple" where a man who ignores cries for help from people in need in turns needs help. Ed Gorman's "Ghosts" is a tale of caution about reprucussions.
All in all a recommended collection of differring takes on ghost mythology.
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Clear explanations are provided are provided for the problems that you suffer from, and the side effects such as chronic bronchitis. The book also covers tactics for living with reflux.
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The book is well written and it is a easy read.
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While Wolfe plays muckraker the girl gets herself killed and her fiance discovers her body. In the wake of the discovery he manages to act guilty enough to get himself arrested. Despite the incriminating circumstantial evidence, his innocence is obvious to everyone except the police.
Wolfe undertakes to find the real killer, and discovers that almost every single member of the civil rights group had motive, means, and opportunity to kill the girl. One of the group even volunteers to confess to the murder to save the young man.
Wolfe keeps Archie and Saul Panzer hopping as they run down leads and try to sort through the tangle of evidence, and of course they come out the other side of the maze with a surprising and satisfying solution.
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A man, Paul, was injured in college. Some number of fellow students felt responsible and guilty enough to undertake some degree of lifetime support (more or less) of him. He was not always fond of this. Some 20 or 30 years later, some of those fellow students begin dying, and later evidence indicates to the remaining that Paul has killed them.
Straightforward (in as much as any of them are) mystery with the twist that you don't know whether the deaths are, in fact, murders--and some may be, some may not be, there may or may not be more, and Paul himself may or may not have been the murderer. I liked that; it presented complications. Some other events (data) laid forth drew me to really basic conclusions ... which were wrong. But appropriately wrong: I had missed something or not been devious enough in my thinking. I had concluded on too little evidence, maybe. I liked that, too.