Minggu, 28 September 2014

* Fee Download The Exile, by Allan Folsom

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The Exile, by Allan Folsom

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The Exile, by Allan Folsom

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The Exile, by Allan Folsom

Night in the California desert: John Barron---the youngest cop on the LAPD's feared 5-2 squad---will get a baptism of blood and fire on a night he will never forget.

Panic on the streets of LA: An international hit man no one can stop---not the governments he threatens, not the prisons that try to hold him, not LA's bloodiest rogue cops.

Rebecca Barron, John's ravishingly beautiful sister: A night of traumatic terror has left her tragically mute. Now, trapped in a web of global intrigue---and pursued by the same sinister hit man menacing institutions of power worldwide---she will find the shocking violence that robbed her of her speech was only the beginning of a far darker odyssey.

A world-famous baroness---as sensuous as she is singularly cruel---will stop at nothing to fulfill her own maniacal dream, one destined to topple governments and dethrone dynasties, catapulting her to the pinnacle of global power . . . while the world holds its breath and waits.

  • Sales Rank: #1397430 in Books
  • Brand: Forge Books
  • Published on: 2004-08-17
  • Released on: 2004-08-12
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.60" h x 1.86" w x 6.40" l,
  • Binding: Hardcover
  • 704 pages
Features
  • Great product!

From Booklist
Folsom, the author of the thrilling Day after Tomorrow (1994), which has no connection to the recent movie, and the decidedly less thrilling Day of Confession (1998), returns mostly to form in this fast-paced, exciting adventure. John Barron, a young LAPD detective, assists in the capture of a vicious killer, who dies during surgery following a gunfight. But some of his fellow cops are also killed in the process, and Barron is forced to leave the department, and the country, to avoid retribution from his former colleagues and friends. He assumes a new identity, moves to Europe, meets a nice lady--and then is confronted with the terrifying prospect that the villain who supposedly died in L.A. is not dead after all and is moving forward with his original plan. Written in short chapters, with a sturdy hero and a despicably clever villain, the novel grabs readers from the opening scenes and rarely lets them loose. Although it seems as though the author has written the book with an eye toward a future movie adaptation--short chapters, plenty of physical action, a constant reminder of the date and time, some scenes even written from an audience's point of view ("The viewer realized that somewhere out there was Raymond")--it isn't an outline posing as a novel. Sure, it's slick and a bit superficial, but it does what it sets out to do: deliver breathless excitement. David Pitt
Copyright © American Library Association. All rights reserved

Review
"A heart-thumping, stay-up-late novel . . . Wild, unputdownable . . . Brilliant."
---Los Angeles Times Book Review on The Day AfterTomorrow

"Once you start The Exile, forget sleep. Its fierce, complex suspense is fast as a 9mm slug and tight as a hangman's noose."
---Stephen Coonts

"More twists and turns than a strand of DNA."---William Peter Blatty, bestselling author of The Exorcist, on The Exile

"Hold on tight---from the first scene Folsom spins a tale of page-turning suspense."
---W. E. B. Griffin on The Exile

"You only have to read the explosive opening to know you're in the hands of a natural storyteller."---Andrew Klavan on The Exile

"A chilling jigsaw puzzle . . . This thriller doesn't leap out of the starting gate---it's catapulted."---Cleveland Plain Dealer on The Day After Tomorrow

"Folsom is an enthusiastic storyteller with a talent for vivid characterization on a big canvas."
---Chicago Tribune on Day of Confession





"Once you start The Exile, forget sleep. Its fierce, complex suspense is fast as a 9mm slug and tight as a hangman's noose." (Stephen Coonts)

"Hold on tight---from the first scene Folsom spins a tale of page-turning suspense." (W.E.B. Griffin)

"More twists and turns than a strand of DNA." (William Peter Blatty Bestselling author of The Exorcist)

"You only have to read the explosive opening to know you're in the hands of a natural storyteller." (Andrew Klavan Two-time Edgar Award winning author of True Crime and Don't Say a Word)

About the Author
ALLAN FOLSOM is the New York Times bestselling author of The Day After Tomorrow and The Day of Confession. He lives in California.

Most helpful customer reviews

27 of 30 people found the following review helpful.
A Good Writer Who Is Not Controversial Enough
By Timothy Haugh
There was a lot of buzz when Mr. Folsom's first book, The Day After Tomorrow, was published some years ago. Though Mr. Folsom's work has never had the success of Dan Brown's, he works a lot of the same territory--thrillers with a "conspiracy theory" subtext. The Exile is another good example of the genre.

This novel, however, will unlikely have the success of The DaVinci Code. In some ways Mr. Folsom is a better writer. He certainly writes a better chase sequence--the opening 60 pages of this novel are as exciting as any I've read with an excellent red herring, slight-of-hand result. But successful novels like this are often helped by controversy and Mr. Folsom isn't likely to generate much here.

Though I find The Exile to be in many ways as controversial as The DaVinci Code, the choice of target makes all the difference. Mr. Brown has religion and the Catholic Church, whose adherents were quick to jump at the publication of the novel. It is the LAPD that receives the biggest slap from Mr. Folsom--incompetence and killing squads anyone?--but it is unlikely that anyone will feel it important to stand up for the police. In some ways, I think that's too bad; and telling about the state of the American psyche.

And, of course, there is the fact that Mr. Folsom's conspiracy centers around a surviving Romanov dynasty trying to come back to power in Russia. Something that's not like to generate that much interest to an American reader despite the fact that the Romanov's seem "hot" right now.

Still, all in all, The Exile is a good read. Mr. Folsom is an excellent writer who does generate a lot of excitement and a pair of excellent characters in John Barron & Raymond Thorne. Yes, the later parts of the book do get a bit predictable and he dips into the chase scene well a little too often and, in my opinion, he would have a better novel if he would have ended the novel halfway down page 701 instead of wrapping it up rather tritely. These are small complaints, however. Readers who enjoy thrillers will enjoy this one.

13 of 14 people found the following review helpful.
gritty, grimy and great
By Lynn Harnett
The second in Glasgow author Denise Mina's projected trilogy ("Garnethill" won the John Creasey Award), "Exile" again features the driven, hard-drinking, damaged Maureen O'Donnell and the grimmer, grimier precincts of Glasgow.
The story concerns the murder of Ann Harris, a battered alcoholic who briefly resided at the women's shelter where Maureen reluctantly works. Agreeing to help her best friend, Maureen looks in on Harris' harassed husband, one of life's ..., who is, however, touchingly devoted to his four "weans." When Harris' body turns up in London, Jimmy goes to the top of the suspects list.
Partly to escape her own haunting problems - her sexually abusive father has returned to Glasgow and his proximity fills her with dread - Maureen goes to London when Ann's body surfaces there. She traces Ann's movements among the drug and alcohol addicted, and the violent traffickers in human weakness. The suspense builds as Maureen slowly gathers the pieces of Ann's messy life, crossing paths and swords with prey and predator.
The story is absorbing, gritty and well organized, the pace wonderfully irregular. But the heart of this novel is Mina's writing, her visceral evocations of people and place. Maureen is a complex knot of longings, intellect, fearlessness and terror. Nothing is simple.
Maureen's reaction to clueless, ... Jimmy: "He tried to smile at her, sliding his lips back, but his face was too tired to pull it off. He had threateningly sharp teeth, which slanted backwards into his mouth. They looked like a vicious little carnivore's, naturally selected because they slid deeper into the flesh when the victim resisted."
And this is the man she decides to champion. Maureen is no trusting soul. But she does yearn. After a fight with her boyfriend: "She wanted a nice boyfriend, she wanted kindness and respect and decency. She didn't want to spend her life with people she was suited to, she wanted to be with people like him."
Mina's prose is muscled, sometimes prickly and vulnerable, sometimes picturesquely hard-boiled: "The morning dragged by like a stranger's funeral." And always painterly: "The wind took on a shrill new viguor at the bus station, hurtling down the low streets, converging in the waiting area in front of the ticket building."
Though Mina's depiction of Glasgow is raw and dark, her heroine's rough edges protect a core of strength and her youthful vitality pumps out glimmers of hope. Denise Mina is a rare find.

9 of 10 people found the following review helpful.
Flawed but entertaining
By mrliteral
On a train heading from Barstow to Los Angeles, a vicious killer named Raymond Thorne notices several plainclothes cops in his passenger car. Have they somehow caught up with him? No, because coincidentally, there is another killer on the same train, and when the police converge on him, Raymond winds up being a hostage. Although not the original target of the police, he soon becomes entangled with them and will need to go on a homicidal rampage to escape their grasp.

One of the cops on the train is John Barron, newest member of the elite 5-2 Squad, which he will soon find out is actually an execution squad, bypassing the judicial system to execute the worst criminals. Barron is not pleased to find out that this is the squad's purpose, but he is locked in, dealing with the moral dilemmas even as he helps pursue Thorne.

The first part of The Exile is almost nonstop action. Things don't start to slow down until the middle third of the book, at which time we start learning about Thorne's agenda. He is no ordinary psychopath, but is acting on a plan that could lead him to a position of real power. For Barron, he is nothing less than an obsession, and there will come a point where he is willing to endanger himself, his family and his friends to stop Thorne.

With plenty of action and suspense, The Exile makes a fast-paced and entertaining read, but it also has enough clear weaknesses to rate more than a high three-stars. In particular, the plot is far too contrived and driven by too many coincidences. The motivations of the main characters are also questionable: it's hard to tell what makes Barron so perilously obsessed with Thorne. For Thorne's part, it seems implausible that - given his critical role in making the conspiracy succeed - that he would be allowed to be so "hands-on." It's like allowing a boxer to engage in a few street fights right before he has a championship bout, unnecessarily risking the big payout.

I suppose in the post-Ludlum era, we need another writer to provide grand novels of international intrigue, chock full of conspiracy and action. Folsom fills the niche satisfactorily, with many of the same pluses and minuses that Ludlum offered. Of course, he's not prolific enough to really please fans of the genre (only three books in over a decade, around five years between books), but Folsom delivers adequately, if not superbly.

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Kamis, 25 September 2014

* Ebook Bye Bye, Baby (Nathan Heller), by Max Allan Collins

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Bye Bye, Baby (Nathan Heller), by Max Allan Collins

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Bye Bye, Baby (Nathan Heller), by Max Allan Collins

It’s 1962, and Twentieth Century Fox is threatening to fire Marilyn Monroe. The blond goddess hires Nate Heller, private eye to the stars, to tap her phone so she will have a record of their calls in case they take her to court. When Heller starts listening, he uncovers far more than nasty conversations. The CIA, the FBI, the Mafia—even the Russians—are involved in actions focused on Marilyn. She’s the quintessential American cultural icon, idolized by women, desired by men, but her private life is... complicated...and her connection to the Kennedys makes her an object of interest to some parties with sinister intentions.

Not long after Heller signs on, Marilyn winds up dead of a convenient overdose. The detective feels he owes her, and the Kennedys, with whom he busted up corrupt unions in the 1950s. But now, as Heller investigates all possible people—famous, infamous, or deeply cloaked—who might be responsible for Marilyn’s death, he realizes that what has become his most challenging assignment may also be the end of him.

PI Nathan Heller returns in his first new novel in a decade, as Max Allan Collins brings to life a vivid star-studded cast, from JFK and RFK to Frank Sinatra and Peter Lawford, from Jimmy Hoffa and Joe DiMaggio to Hugh Hefner and Sam Giancana. Bye Bye, Baby is a Hollywood tale you never thought could happen…but probably did.

  • Sales Rank: #2371919 in Books
  • Brand: Forge Books
  • Published on: 2011-08-16
  • Released on: 2011-08-16
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.45" h x 1.23" w x 6.46" l, 1.15 pounds
  • Binding: Hardcover
  • 336 pages
Features
  • Great product!

Review

“The Nate Heller historical crime novels consistently mesmerize with their carefully researched period detail —Noir Meets the History Channel.” —Booklist, starred review on Chicago Confidential

“With its fascinating period narrative and affecting inter-generational story, Road to Purgatory is a delight for fans of the original story and newcomers as well.” —Chicago Sun-Times

“The characters, historical and fictional, come delightfully to life... Collins paints a web of interconnections in a tightly woven plot and posits a radical solution to a crime that still resonates in literature and movies.” —Publishers Weekly on Angel in Black

About the Author

MAX ALLAN COLLINS is the bestselling author of crime fiction including Road to Perdition and the Perdition Saga, and the award-winning novel based on the film American Gangster. He has won two Shamus Awards for Nathan Heller novels. He also wrote the Dick Tracy comic strip for fifteen years, and is an independent filmmaker. He lives in Eastern Iowa.

Excerpt. © Reprinted by permission. All rights reserved.
CHAPTER 1
 

 
The naked actress was laughing, splashing, her flesh incandescent against the shimmer of blue, now on her back, then bottoms up, her happy sounds echoing, as if she were the only woman in the world—and wasn’t she?
She was, after all, Marilyn Monroe, and this was Fox’s Soundstage 14, where she was shooting the film Something’s Got to Give, under the supervision of legendary Hollywood director George Cukor.
Nude scenes were common overseas—Bardot had become famous flashing her fanny in And God Created Woman—but a major star like Monroe shedding for the CinemaScope camera? Just not done, even if she did have those notorious calendar shots in her past.
This was the closed set of all closed sets. A small army of security guards had been summoned by producer Henry Weinstein to cover the five entrances to the soundstage, after word of the nude scene wildfired across the lot. This was the toughest ticket in town, unless you had an in.
I had an in. Last night I’d heard from Marilyn’s personal publicist, Pat Newcomb (calling at the star’s request), that tomorrow would be the “day of days” on the Something’s Got to Give set.
“Marilyn says you wanted to visit,” Pat said, in her pleasantly professional way, “sometime during filming. And this is it.”
“Mind my asking what’s special about tomorrow?”
“She has a swimming scene and, knowing Marilyn, might just slip out of her suit.…”
I reminded Miss Newcomb that I needed two passes, and was assured they’d be waiting at the studio gate.
So how did I rate? Big-shot agent? Top Hollywood columnist? Producer sizing up MM for his next picture, maybe?
No. I was just a private detective, or anyway I used to be. Since my agency grew to three locations (LA, Manhattan, and the original Chicago office), I’d become mostly a figurehead, bouncing between them, handling publicity and sucking up to big-money clients. I couldn’t remember when I last knocked on a strange door or parked outside some motel with a camera, much less carried a gun.
But Nathan Heller, president of the A-1 Detective Agency, me, had indeed done a number of private eye jobs for Miss Monroe, starting with bodyguard duty in Chicago on her Gentlemen Prefer Blondes junket, and more recently tracking down a guy named C. Stanley Gifford, who she thought was her father, in the sense that he was the likeliest candidate for having knocked up Mom, who currently resided in the latest of many nuthouses.
Old C. Stanley missed the boat, or maybe his gravy train, when my client used the info I gathered to call her potential pop and say, “This is Norma Jeane—I’m Gladys Baker’s daughter.” Apparently thinking this was a touch, the idiot—unaware that Norma Jeane Baker had transformed herself, through no little effort, into Marilyn Monroe—hung up. On her second try, she got C. Stanley’s wife, who told the caller to contact her husband’s lawyer if she “had a complaint.”
Anyway, we were friendly, Marilyn and I, and for a while had been very friendly. In the interim I had transformed myself, through no little effort, into “the private eye to the stars.” This was a nice trick since I lived in Chicago, though the A-1’s ongoing security job with the Beverly Hills Hotel meant I had a bungalow whenever and for however long I might need one.
I also had an ex-wife out here, a former actress now married to a once successful producer, neither of whom I gave a shit about. I gave much more than a shit about my teenage son, Sam, who was actually Nathan Samuel Heller, Jr., only we had called him “Sam” when he was little, to avoid having two Nates around. Before long, my wife was happy not to have any Nate around.
So Sam it was, now a happy fourteen-year-old. Why happy? Wouldn’t you be, if you were a fourteen-year-old male whose father had got him onto the set of Marilyn Monroe’s nude swimming scene?
When you are divorced and your wife has custody of your only child, and the other “dad” is a film producer (once successful or otherwise), you have to work to stay on your kid’s good side. Sam was not impressed with celebrities, generally, having seen plenty, but this was different. I was fairly certain his first sexual experience had been with the signed-to-him nude Monroe calendar I’d given him on his thirteenth birthday (his mother still didn’t know about that).
This was his fifteenth-birthday present, even though this was May and the real date wasn’t till September. Some gifts you grab when they present themselves.
I’d kept the nature of what we’d be witnessing to myself, just promising Sam a “treat,” and he put up with that. We cut each other plenty of slack, since we often had half a continent between us, and anyway, in my mid-fifties, I was pretty old for a teen’s dad.
Sam looked a lot like me, identical except for his mother’s brown hair and not my reddish variety, and was already within two inches of my six feet. He was slender and so was I—I’d lost my paunch in an effort to regain my youth.
So I looked goddamn good in my lightweight gray glen plaid Clipper Craft suit with lighter gray shirt (Van Heusen tab collar) and thin black silk tie. Sam was in a tan striped Catalina pullover and brown beltless Jaymar slacks. We were a sporty pair.
Keep in mind that I was already in solid with the kid for getting him out of school for the day. This was a Wednesday, and he had something like a week and a half left before summer vacation. So I was cool, for a dad.
He did complain that I didn’t have a convertible, which in California was a criminal offense. My wheels, technically part of the A-1’s fleet, were merely a white 1960 Jaguar 3.8, leather seats, walnut interior, disk brakes, automatic transmission.
“Convertibles blow my business papers around,” I said at the wheel, tooling around the Fox lot. “And muss my hair.”
“Get it cut,” he said, rubbing his hand over the bristle of his crew cut.
“I don’t like the smell of butch wax.”
“Come on, Dad. Grow up.”
I didn’t share with Sam my opinion of crew cuts, which was that they were for servicemen, bodybuilders, and homosexuals, not necessarily mutually exclusive groups. Kids his age didn’t need having their sexuality undermined. In fact, my mission today was just the opposite.
Of course, in trying to impress my kid—whose “other” father was a producer (did I mention the fat prick used to be successful?)—I should have picked a lot other than Fox’s. The grand old studio was scrambling to stay afloat. Clouds of dust crowded the blue out of the sky over bulldozers making way for apartment buildings and office towers. The out-of-control Liz Taylor picture Cleopatra, currently filming in Rome, had required the selling off of such fabled backlot locations as Tyrone Power’s Zorro hacienda, Betty Grable’s Down Argentine Way ranch, and Lana Turner’s Peyton Place town square.
Marilyn’s new picture, which Hedda Hopper and Louella Parsons called “troubled,” was in fact the only going project on the lot.
“Jeez,” Sam said, elbow out the rolled-down window. “It’s a lousy ghost town.”
The streets of this soundstage city had once been hopping with cowboys and Indians, pirates and dancing girls. Even the trees and lawns were brown and dying—palms and ferns, too. Had they cut off the water? Or had the water company cut off Fox?
As per Pat Newcomb’s instructions, I drove directly to Marilyn’s recently constructed bungalow, which had the look of a small prefab suburban house. I left Sam in the Jag and went up to the door, where a security guard was on watch; I showed my special pass, and he knocked for me.
I was greeted by Pat Newcomb—slim in a yellow blouse and tan slacks, thirty or so, her light brown hair cut chin-length. We knew each other only slightly. She was attractive, but not too attractive—that wouldn’t do for the woman assigned by the Arthur Jacobs PR agency to be Marilyn’s right hand.
The interior was mostly one big bustling room, as buzzing as the lot was otherwise dead. A battalion of technicians was at work on creating the fabled Marilyn Monroe “look.” Each seemed to operate off caffeine, as one hand would bear a coffee cup, the other whatever tool of the trade was required: comb, brush, makeup jar.
Wearing only a flesh-colored bikini, the object of their artistry reclined on a slant board like the bride of Frankenstein waiting to be awakened. She was more slender than I’d ever seen her, but her prominent rib cage made her handful breasts jut nicely, and her narrow waist and flaring hips suggested a voluptuousness that wasn’t really earned.
I shouldered my way in. “Afraid I’m gonna have to take you in for public nudity.”
Marilyn beamed at me but didn’t turn her head—her makeup man of many years, Whitey Snyder, a pleasant sharp-featured guy, was using a watercolor brush to highlight her cheekbones.
“Are you going to make me laugh, Nate?” she asked, with only a hint of her trademark halting screen delivery. “Because if you are, I am going to have to throw you out on your you-know-what.”
An almost naked broad using a euphemism like “you-know-what” was pretty funny.
“I wouldn’t want to ruin your face,” I said.
“Takes more and more work to make it a face,” she said, rueful but good-humored. Her mouth was on, but not as full as before, if just as lushly red. Her whole look had been adjusted to make the switch from the fifties to the sixties, more fashion model than pinup.
At a counter facing the slant board, a heavyset woman in a pale blue smock was mixing body makeup. Then she began applying the goop with a rubber-gloved hand.
“I’m going to be in that chlorinated water a long time,” Marilyn said by way of explanation, batting her mascaraed lashes at me. “This is the mixture Esther Williams used to use. Where’s your son?”
“Out in the car.”
“Leave him there. We’ll let him see the magic. But not how the trick is done.… Ooh, this is nasty stuff. Again, you know, it’s because of the water.…”
A skinny effeminate man also in a pale blue smock had begun spraying hairspray that turned her platinum locks, already put to the test by God knew how many and what chemicals, into something brittle and stiff.
“Everybody! This is my friend Nate Heller—you know that private eye on TV? Peter Gunn? He’s based on Nate.…”
Everybody gave me a fraction-of-a-second glance, and a few even pretended to be impressed. They’d have been more impressed if Peter Gunn hadn’t been canceled recently.
Having tossed me my cookie, she said, “You run along, Nate.”
I ran along.
(By the way, Peter Gunn was not based on me, though I was a paid consultant the first season.)
When I climbed into the Jag, Sam gave me a wide-eyed welcome. It was like looking into the mirror and seeing my fourteen-year-old self look back at me. Horny fourteen-year-old self.
“Was she in there?”
“Yup.”
“Jeez, Pop. What was she wearing!”
“Quit talking like an old Charlie Chan picture.”
“All Charlie Chan pictures are old. What was she wearing?”
“Not much.”
He leaned against the leather seat and smiled to himself. He was gazing straight ahead—into that calendar he kept hidden under his gym socks. So I started up the Jag and headed through the lot to Soundstage 14.
Funny to think that Marilyn Monroe was the last hope of this dying beast. She’d been at odds with Twentieth Century–Fox almost from the start. Back in the middle 1940s, she’d struggled to get picked out of cattle calls, just another pretty blonde looking for extra work or bit parts. Then she’d tried to get noticed in small roles. Finally she worked her way up to being the worst-paid star on this or any other lot. Something’s Got to Give signaled her exit from Fox bondage—that one last picture she owed them.
From what I’d read, it wasn’t much of a picture, and of course getting stuck with lousy scripts had been why Marilyn had walked from Fox back in the fifties and gone east to form her own company. She’d wound up in the prestigious Actors Studio, a fairly unlikely berth for a bombshell.
Not that Marilyn was your average bombshell. She’d married Joe DiMaggio and Arthur Miller, hadn’t she? She even turned her bubbleheaded shtick into something more with her Bus Stop and Some Like It Hot performances. Who but Marilyn could have found nuances in dumb-blonde roles?
She was special, and I liked her, on-screen and off. She had a reputation for driving directors and costars and studio execs crazy, but I knew that came from a kind of cockeyed perfectionism born out of insecurity. The hard-drinking, drug-abusing Marilyn of rumor was a stranger to me. I’d always found her sweet and sexy and funny, if needy, and if she had a bad side, I’d been privileged not to see it.
Anyway, this Something’s Got to Give should have been an easy payday for her. She had a copasetic costar in Dean Martin—she hung around with the Rat Pack boys, having been Sinatra’s sweetheart off and on—and the director was on her very short approved list with the likes of Billy Wilder and Alfred Hitchcock.
Trifle though it might be, the picture was a remake of a comedy classic, My Favorite Wife, where remarried hubby Cary Grant is confronted by his suddenly-not-dead first wife, Irene Dunne, who’s been on a desert island with hunk Randolph Scott. Similar shenanigans should ensue second time around, with the current loosening of the Production Code meaning the sex stuff could be sexier stuff.
So the gig should have been painless for Marilyn, but the papers said she’d been out sick for half the production days. On the phone last night, I’d asked Pat Newcomb about it.
“So what’s up? Is Marilyn really sick?”
“She has been, yes. Sinusitis, flu, running a high temperature. The studio’s own physician has found her unfit for work.”
“So the columns saying she’s being a prima donna, that’s crap?”
A pause. “Mr. Heller, Marilyn is a star and has certain … eccentricities, and expectations. But no, she’s really sick.”
“Not so sick that she didn’t show up to sing ‘Happy Birthday’ to the president at Madison Square Garden the other night.”
It had been a big, gaudy televised event. Marilyn had done her dumb-blonde bit, not this new sixties model, and Jack Kennedy had damn near drooled over the attention. No wonder Jackie Kennedy had stayed away.
“That had been agreed to months ago,” the publicist said, defensively. “The studio tried to renege at the last moment, but how does a star like Marilyn turn down a command performance for the president?”
“She doesn’t,” I said. “But what kind of studio doesn’t see the PR value in that?”
“This one,” the publicist said bitterly. “They let Elizabeth Taylor run wild and stick adultery in their faces and rack up cost overruns that would bankrupt a European nation, and then punish Marilyn for it.”
“Is this a happy set I’m visiting tomorrow?”
Her tone lightened. “Oh, yes. And you have to love it—Marilyn knows just how to play these kind of people.”
These kind of people were mostly men, of course. And Marilyn had known all she had to do to get them eating out of her hand was take off her clothes.
When Sam and I stepped onto Soundstage 14, the world turned a bilious shade of pink. The elaborate, expansive set would have filled Soldier Field: spread out before us was the ass end of a stone-and-stucco Mediterranean mansion with a vast, angular pool surrounded by rococo lawn furniture and bushes and trees, one bearing a tree house.
Catwalks and lighting platforms made a spiderweb sky. A dapper little old gnome of a man was strutting around up there barking commands, and spotlights took various angles, as if searching for an escaped prisoner. This, I later learned, was Cukor, who—other than issuing very general orders, including the obligatory “Action!” and “Cut!”—gave Marilyn scant direction that afternoon.
On the fringes of the brightly lit set, an inky darkness prevailed. In one such pocket Sam and I positioned ourselves.
When a blue-robed Marilyn arrived with Pat Newcomb, a phalanx of attendees formed around her like Secret Service agents guarding the president. This group included Snyder and other hair and makeup techs, as well as Marilyn’s acting coach, Paula Strasberg, a fat witchy-looking figure in a black muumuu. Another slant board was waiting for Marilyn between takes, but the truth is—except for a lunch break, which for her was coffee—she never got completely out of the pool, once she got in.
She just swam happily, the center of attention in the elaborate set in the cavernous soundstage, queen of her domain. At first—when she slipped out of the blue terry-cloth robe, and into the pool—she wore a flesh-colored swimsuit. But after only a few minutes, a voice called down from a catwalk.
Not Cukor’s, rather that of one of the two cinematographers (one camera was going poolside, this other up top) yelling down, echoingly, “I’m sorry, darling—but the lines in the swimsuit are showing up!”
This was a stilted reading, obviously planned, but Marilyn quickly, and deftly, slipped off the suit. That left only the very sheer bra and panties beneath, and those soon followed, deposited at the edge of the pool as if put out to dry.
Sam’s mouth was hanging open. I started to laugh, then realized mine was yawning, too.
She was a vision, a nymph, if a nymph was as womanly as that, a pink ghost flickering beneath the turquoise glimmer, occasionally exposing more than just a limb, a delicious rump, a pert breast—even the amber pubic triangle made its presence known, if fleetingly.
Pat Newcomb, at my side, said softly, “Having fun?”
“I guess she’s showing the Fox boys she isn’t over the hill.”
The publicist grunted a little laugh. “She had to get Black Bart’s blessing, you know.”
“Who?”
She nodded toward the stout woman in the black muumuu, just beyond the big camera. “Had to have Paula’s blessing. Had to be approved ‘Method’ technique for Marilyn to swim in the nude.”
“Yeah? What’s the scene about?”
“Tempting her husband out of Cyd Charisse’s bed.”
“This is the method that would do that.”
Cukor would occasionally call “Cut,” mostly for a camera reload, and during one such break, Pat called an assistant director over and said, “Now.”
Soon a couple of photographers came in, and the publicist walked them to their respective spots and said, “You have half an hour, fellas. Don’t waste it.”
They didn’t. They had those new motor-driven Nikons that could snap half a dozen frames per second.
They caught her bobbing in the turquoise water. Got her poolside getting in and out of the nappy blue robe, even providing a few glimpses of dimpled behind. Captured incredible shots of her gripping the pool’s rim while a shapely leg slid up onto the Spanish tiles. All that, and one dazzling, knowing smile after another.…
Then when she sat on the steps and let the robe disappear and showed the fantastic sweep of her back into her narrow waist and out into the full hips, water beading, sparkling on that gorgeous flesh, audible gasps (including from Heller Father and Son) could be heard.
She just looked over her shoulder at everybody, with that old Betty Boop innocence, as if to say, “Whatever are you boys so excited about?”
And my son said, “Best birthday ever, Dad. Hell. Best dad ever.”
And father and son just stood there in the dark, bonding, ignoring each other’s erection.

 
Copyright © 2011 by Max Allan Collins

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0 of 0 people found the following review helpful.
MM murder or suicide.
By BARBARA TURANO
It was a wonderful read. I have many personal opinions on this trajic death, which I do in my heart. Think is was in fact a murder,by Very well known people.

8 of 8 people found the following review helpful.
Nate Heller RULES Once Again
By Eric Mays
I have always had a fondness Nathan Heller mysteries. I think it's Max Collins' rich history lessons. And the man always captures the "feel" of the decade he's writing in. That's what I find most impressive. In Bye Bye Baby Heller is immersed in Hollyweirdland - a swap off from his home city of Chicago, where he served as a cop prior to the private dick biz. Amongst the Hollywood elite, Heller focuses on his "friend", Marilyn Monroe, who's garnering quite a lot of interest...and not all of it good. So far, the Kennedys, Jimmy Hoffa, and Frank Sinatra all have a vesting interest in the diva. You can already see where this is going, no?

Obviously, this is focused on the dramatic death of Ms. Monroe, and a litany of conspiracy theories that fall shortly thereafter. Max Allan Collins has fun with the work, he tosses a few red herrings in here and there, and he keeps us guessing to the very end. What's amazing is that it's all so plausible. The research pages alone (the Author's Thanks) span about 12 pages. Oy!

In the end, Collins captures the vibe of the '60's and late '50's with Bye Bye Baby. What's more, if you're not a follower of the series, you can jump right into the fray and not feel like you've missed a beat. It's good, and probably one of the best of the series.

7 of 7 people found the following review helpful.
PI Nate Heller dives into the Kennedy/Monroe tornado
By Scott Schiefelbein
I have to fess up: this is my first Max Allan Collins novel, so I cannot claim to be familiar with this famous, well-lauded writer. Perhaps that gives me more freedom to review this book, perhaps it means that I'm missing key references, but let us press on.

Nate Heller is a hard-boiled detective working in perhaps the most hard-boiled town in America - early 1960s Hollywood. This is the Tinseltown where gangsters rubbed elbows with politicians and entertainers under the watchful and knowing eyes of the LAPD, FBI, and even CIA. The novel opens with Heller giving his teenage son what may be the coolest birthday present ever: an invitation to watch on set as Marilyn Monroe splashes around in the nude for the film, "Something's Got to Give." Given that most American men would have given their right arm to watch Ms. Monroe cavort, this scene says much about Heller's status in Hollywood - the guy is on the inside, where all the dark secrets are laid bare.

And are there ever secrets. Marilyn Monroe was the focal point of the most fascinating triangle in American history, where politics, Hollywood, and the mob came together as never before. The politics side was filled by the Kennedy boys, Jack and Bobby, both of whom were smitten both with the glamour of Hollywood in general and Marilyn's charms in particular. Hollywood was also in a silver age, as Sinatra's Rat Pack dominated the screen and the gossip. And the mob was there, with Sam Giancana and others lurking about, thanks to their various favors for the Kennedy campaign and the CIA. Heller, it seems, has done favors for them all, which makes him the perfect go-between.

Things are coming to a head. Monroe is feuding with her film studio, Fox, and the studio is mounting a fierce smear campaign. She is also feuding with Jack Kennedy over the termination of their affair, as well as Bobby Kennedy, who was sent to handle her by the President only to fall into an affair of his own. Monroe is also feuding with her ex, Joe DiMaggio, and who knows how many others. So she turns to Heller to tap her own phones. What ensues is a dizzying ride through Marilyn's final days and the grisly aftermath of her death, which is meant to be sold as a suicide but that story doesn't withstand a moment's scrutiny under Heller's experienced, wrathful eye. The novel's second half follows Heller as he tracks down those responsible for killing his beloved, the Blonde Bombshell.

As with any story involving the Kennedys, the story almost spins out of control as there are so many secrets and so many celebrities walking across the stage. It's always tough with the Kennedy conspiracy tales because the conspiracies become so elaborate and interlocking that you wonder if anyone could have dreamt them up in the first place, much less have put them into action. But the fact remains that Marilyn Monroe's death was about as fishy as it gets, and there are reports that Bobby Kennedy was at her house that very day.

Collins keeps the story going with gusto, as Heller is a definitive private eye. Sarcastic, jaded, but fiercely loyal, Heller is the perfect guy for uncovering secrets and getting to the bottom of things. He's one of the few guys who remembers that, at its heart, the death of Marilyn Monroe was not a Hollywood script but the sad loss of a talented young woman. Collins' writing captures that sadness - he's not nearly as hard-boiled as James Ellroy, for example - as well as the overlooked human frailty that we all miss when we ogle pictures of Marilyn Monroe, still the gold standard for American beauty in the 20th century.

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4th Grade

  • Sales Rank: #2465308 in Books
  • Published on: 2002-07-15
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.10" h x .30" w x 8.30" l,
  • Binding: Paperback

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Lost Lands of Witch World, by Andre Norton

In the 1960s Andre Norton's career took a fateful and important turn. Having written adventure science fiction for almost thirty years, she turned to something new, science-fantasy, with Witch World. This unique world of sorceresses and the many others who fight such adversaries as the Kolder, the Hounds of Alizon and other threats, has proven to be Miss Norton's most beloved and popular creation. Three Against the Witch World, Warlock of the Witch World , and Sorceress of the Witch World, the fourth, fifth, and sixth novels in the series, have long been recognized as novels that comprise the core of the series, along with the first three novels.

Today, four decades after their first publication, these novels of adventure, excitement, and daring remain as fresh and original as when they first appeared. For the first time they are now available in a single volume for new readers of all ages to discover, and for fans to rediscover in an attractive, durable new format.

Includes a long introduction by Mercedes Lackey.

  • Sales Rank: #1901879 in Books
  • Brand: Brand: Tor Books
  • Published on: 2004-06-19
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.58" h x 1.43" w x 6.40" l,
  • Binding: Hardcover
  • 448 pages
Features
  • Used Book in Good Condition

Review
Praise for Andre Norton: "One of the most popular authors of our time." --Publishers Weekly

"One of the most distinguished living SF and fantasy writers." --Booklist

"She remains one of the most underrated masters of science fiction and fantasy." --Minneapolis Star-Tribune

About the Author
For well over a half century, Andre Norton has been one of the most popular science fiction and fantasy authors in the world. Since her first SF novels were published in the 1940s, her adventure SF has enthralled readers young and old. With series such as Time Traders, Solar Queen, Forerunner, Beast Master, Crosstime, and Janus, as well as many stand-alone novels, her tales of action and adventure throughout the galaxy have drawn countless readers to science fiction.

Her fantasy, including the best-selling Witch World series, her "Magic" series, and many other unrelated novels, has been popular with readers for decades. Lauded as a Grand Master by the Science Fiction Writers of America, she is the recipient of a Life Achievement Award from the World Fantasy Convention. Not only have her books been enormously popular; she also has inspired several generations of SF and fantasy writers, especially many talented women writers who have followed in her footsteps. In the past two decades she has worked with other writers on a number of novels. Most notable among these are collaborations with Mercedes Lackey, the Halfblood Chronicles, as well as collaborations with A.C. Crispin (in the Witch World series) and Sherwood Smith (in the Time Traders and Solar Queen series). An Ohio native, Ms. Norton lived for a number of years in Winter Park, Florida, and now makes her home in Murfreesboro, Tennessee, where she continues to write, and presides over High Hallack, a writers' resource and retreat.

Excerpt. © Reprinted by permission. All rights reserved.
I
 
 
I am no song-smith to forge a blade of chant to send men roaring into battle, as the bards of the Sulcar ships do when those sea-serpents nose into enemy ports. Nor can I use words with care as men carve out stones for the building of a strong, years-standing keep wall, that those generations following may wonder at their industry and skill. Yet when a man passes through great times, or faces action such as few dream on, there awakes within him the desire to set down, even limpingly, his part in those acts so that those who come after him to warm his high seat, lift his sword, light the fire on his hearth, may better understand what he and his fellows wrought that they might do these same things after the passing of time.
Thus do I write out the truth of the Three against Estcarp, and what chanced when they ventured to break a spell which had lain more than a thousand years on the Old Race, to darken minds and blot out the past. Three of us in the beginning, only three, Kyllan, Kemoc, and Kaththea. We were not fully of the Old Race, and in that lay both our sorrow and our salvation. From the hours of our birth we were set apart, for we were the House of Tregarth.
Our mother was the Lady Jaelithe who had been a Woman of Power, one of the Witches, able to summon, send and use forces beyond common reckoning. But it was also true that, contrary to all former knowledge, though she lay with our father, the Lord Warder Simon, and brought forth us three in a single birth, yet she lost not that gift which cannot be measured by sight nor touch.
And, though the Council never returned to her her Jewel, forfeited at the hour of her marriage, yet they were also forced to admit that she was still a Witch, though not one of their fellowship.
And he who was our father was also not to be measured by any of the age-old laws and customs. For he was out of another age and time, entering into Estcarp by one of the Gates. In his world he had been a warrior, one giving orders to be obeyed by other men. But he fell into a trap of ill fortune, and those who were his enemies sniffed at his heels in such numbers that he could not stand and meet them blade to blade. Thus he was hunted until he found the Gate and came into Estcarp, and so also into the war against the Kolder.
But by him and my mother there came also the end of Kolder. And the House of Tregarth thereafter had no little honor. For Simon and the Lady Jaelithe went up against the Kolder in their own secret place, and closed their Gate through which the scourge had come upon us. And of this there has already been sung many songs.
But though the Kolder evil was gone, the stain lingered and Estcarp continued to gasp for life as her enemies, ringing her about, nibbled eternally at her tattered borders. This was a twilight world, for which would come no morning, and we were born into the dusk of life.
Our triple birth was without precedent among the Old Race. When our mother was brought to bed on the last day of the dying year, she sang warrior spells, determined that that one who would enter into life would be a fighter such as was needed in this dark hour. Thus came I, crying as if already all the sorrows of a dim and forbidding future shadowed me.
Yet my mother's labor was not at an end. And there was such concern for her that I was hurriedly tended and put to one side. Her travail continued through the hours, until it would seem that she and that other life, still within her, would depart through the last gate of all.
Then there came a stranger of the Ward Keep, a woman walking on her own two dusty feet. In the courtyard she lifted up her voice, saying she was one sent and that her mission lay with the Lady Jaelithe. By that time so great was my father's fear that he ordered her brought in.
From under her cloak she drew a sword, the blade of it bright in the light, a glittering, icy thing, cold with the burden of killing metal. Holding this before my mother's eyes, she began to chant, and from that moment it was as if all the anxious ones gathered in that chamber were bound with ties they could not break. But the Lady Jaelithe rose out of the sea of pain and haunted dreams which held her, and she too gave voice. Wild raving they thought those words of hers as she said:
"Warrior, sage, witch--three--one--I will this! Each a gift. Together--one and great--apart far less!"
And in the second hour of the new year there came forth my brother, and then my sister, close together as if they were linked by a tie. But so great was my mother's exhaustion that her life was feared for. The woman who had made the birth magic put aside the sword quickly and took up the children as if that was her full right--and, because of my mother's collapse, none disputed her.
Thus Anghart of the Falconer village became our nurse and foster mother and had the first shaping of us in this world. She was an exile from her people, since she had revolted against their harsh code and departed by night from their woman village. For the Falconers, those strange fighting men, had their own customs, unnatural in the eyes of the Old Race whose women hold great power and authority. So repugnant were these customs to the Witches of Estcarp that they had refused the Falconers settlement land when they had come, centuries earlier, from over seas. Thus now the Hold of the Falconers was in the high mountains, a no-man's land border country between Estcarp and Karsten.
Among this people the males dwelt apart, living only for war and raiding, having more affection and kinship with their scout hawks then they did with their women. The latter were quartered in valley villages, to which certain selected men went at seasons to establish that their race did not die out. But upon the birth of children there was a ruthless judging, and Anghart's newly born son had been slain, since he had a crippled foot. So she came to the South Keep, but why she chose that day and hour, and seemed to have foreknowledge of our mother's need, she never said. Nor did any choose to ask her, for to most in the Keep she turned a grim, closed face.
But to us she was warmth, and love, and the mother the Lady Jaelithe could not be. Since from the hour of the last birth my mother sank into a trance of sorts and thus she lay day after day, eating when food was put in her mouth, aware of nothing about her. And this passed for several months. My father appealed to the Witches, but in return he received only a cold message--that Jaelithe had seen fit to follow her own path always, and that they did not meddle in the matters of fate, nor could they reach one who had gone long and far down an alien way.
Upon this saying my father grew silent and grim in his turn. He led his Borderers out on wild forays, showing a love of steel play and bloodletting new to him. And they said to him that he was willfully seeking yet another road and that led to the Black Gate. Of us he took no note, save to ask from time to time how we fared--absently, as if our welfare was that of strangers, no real concern to him.
It was heading into another year when the Lady Jaelithe at last roused. Then she was still weak and slipped easily into sleep when overtired. Also she seemed shadowed, as if some unhappiness she could not name haunted her mind. At length this wore away and there was a lightsome time, if brief, when the Seneschal Koris and his wife, the Lady Loyse, came to South Keep at the waning of the year to make merry, since the almost ceaseless war had been brought to an uneasy truce and for the first time in years there was no flame nor fast riding along either border, neither north to face the wolves of Alizon nor south where the anarchy in Kasten was a constant boil and bubble of raid and counter-raid.
But that was only a short breathing space. For it was four months into the new year when the threat of Pagar came into being. Karsten had been a wide battle field for many lords and would-be rulers since Duke Y vian had been killed during the Kolder war. To that wracked duchy the Lady Loyse had a claim. Wedded by force--axe marriage--to the Duke, she had never ruled. But on his death she might have raised his standard. However, there was no tie between her and a country in which she had suffered much. Loving Koris, she had thankfully tossed away any rights over Karsten. And the policy of Estcarp, to hold and maintain the old kingdom, not to carry war to its neighbors, suited her well. Also Koris and Simon, both bolstering as well as they could the dwindling might of the Old Race, saw no advantage in embroilment aboard, but much gain in the anarchy which would keep one of their enemies employed elsewhere.
Now what they had forseen came to pass. Starting as a small holder in the far south, Pagar of Geen began to gather followers and establish himself, first as a lord of two southern provinces, then acclaimed by the men of the city of Kars of their own free will, the ruined merchants there willing to declare for anyone likely to reestablish peace. By the end of our birth year Pagar was strong enough to risk battle against a confederation of rivals. And four months later he was proclaimed Duke, even along the border.
He came to rule in a country devasted by the worst sort of war, a civil struggle. His followers were a motley and hard-to-control crew. Many were mercenaries, and the loot which had drawn them under his banner must now be replaced by wages or they would go elsewhere to plunder.
Thus Pagar did as my father and Koris had expected: he looked outside his borders for a cause to unite his followers and provide the means for rebuilding his duchy. And where he looked was north. Estcarp had always been feared. Y vian, under the suggestion of the Kolder, had out-lawed and massacred those of the Old Race who had founded Karsten in days so far distant that no man could name the date. They had died--hard--or they had fled, across the mountains to their kin. And behind they left a burden of guilt and fear. None in Karsten ever really believed that Estcarp would not some day move to avenge those deaths. Now Pagar need only play slightly on that emotion and he had a crusade to occupy his fighters and unite the duchy firmly behind him.
Still, Estcarp was a formidable foe and one Pagar desired to test somewhat before he committed himself. Not only were the Old Race dour and respected fighting men, but the Witches of Estcarp used the Power in ways no outsider could understand, and which were the more dreaded for that very reason. In addition there was a firm and unbreakable alliance between Estcarp and the Sulcarmen--those dreaded sea rovers who already had raided Alizon into a truce and a sullen licking of sore wounds. They were as ready to turn their serpent ships southward and bite along Karsten's open coast line, and that would arouse the merchants of Kars to rebellion.
So Pagar had to prepare his holy war quietly. Border raiding began that summer, but never in such strength that the Falconers and the Borderers my father commanded could not easily control. Yet many small raids, even though easily beaten back, can gnaw at the warding forces. A few men lost here, one or two there--the sum mounts and is a steady drain. As my father early knew.
Estcarp's answer was loosing of the Sulcar fleets. And that did give Pagar to think. Hostovrul gathered twenty ships, rode out a storm by spectacular seamanship, and broke the river patrol, to raid into Kars itself, with such success that he left the new Duke unsteady for another full year. And then there was an insurrection in the south whence Pagar had come, led by his own half-brother, to keep the Duke further engaged. Thus three years, maybe more, were won from the threat of chaos, and the twilight of Estcarp did not slide into night as quickly as the Old Race had feared.
During these years of maneuvering the three of us were taken from the fortress of our birth--but not to Es, for both our father and mother held aloof from the city where the Council reigned. The Lady Loyse established a home in a small manor-garth of Etsford, and welcomed us into her household. Anghart was still the center of our lives, and she made an acceptable alliance with the mistress of Etsford based on mutual regard and respect. For the Lady Loyse had adventured, disguised as a blank shield mercenary, into the heart of enemy territory when she and my mother had been ranged against all the might of Kars and Duke Y vian.
Upon her long delayed recovery the Lady Jaelithe assumed once more her duties with my father as vice-warder. Together they had control of the Power, not after the same fashion as the Witches, but in another way. And I know now that the Witches were both jealous and suspicious of the gift so shared, though it was used only for the good of the Old Race and Estcarp. The Wise Ones found such talent unnatural in a man and secretly always reckoned my mother the less because of her uniting with Simon. At this time the Council appeared to have no interest in us children. In fact their attitude might be more termed a deliberate ignoring of our existence. Kaththea was not subjected to examination for inherited Power talent as were all girls of the Old Race before they were six.
I do not remember my mother much from those years. She would descend upon the manor, trailed by fighters from the Border forces--of much greater interest to me, for my first crawl across the floor took me to lay a baby's hand on the polished hilt of a sword. Her visits were very few, my father's even less; they could not often be spared from the patrol along the south border. We turned to Anghart for all answers to childish problems, and held the Lady Loyse in affection. To our mother was given respect and awe, and our father had much the same recognition. He was not a man who was easy with children, I believe, and perhaps he unconsciously held against us the suffering our birth had caused his wife who was the one person he held extremely dear.
If we did not have a closeknit relationship with our parents, we made up for that with a tight bond among the three of us. Yet in nature we were different. As my mother had wished, I was first a warrior, that being my approach to life. Kemoc was a thinker--presented with any problem his was not the response of outright and immediate action, but rather a considered examination and inquiry into its nature. Very early he began his questions, and when he found no one could give him all the answers he wished, he strove to discover the learning which would.
Kaththea felt the deeper. She had a great oneness, not only with us, but things about us--animals, people, even the countryside. Oftentimes her instinct topped my force of action or Kemoc's considered reasoning.
I cannot remember the first time we realized that we, too, possessed a gift of the Power. We need not be together, or even miles close, to be in communication. And when the need was we seemed a single person--I the arms for action, Kemoc the brain, Kaththea the heart and controlled emotion. But some wariness kept us from revealing this to those about us. Though I do not doubt that Anghart was well aware of our so-knitted strength.
We were about six when Kemoc and I were given small, specially forged swords, dart guns suited to our child hands, and began the profession of arms which all of the Old Race must follow during this eventide. Our tutor was a Sulcarman, crippled in a sea fight, sent by our father to give us the best training possible. He was a master of most weapons, was Otkell, having been one of Hostovrul's officers during the raid on Kars. Though neither of us took to the use of the axe, to Otkell's disappointment, both Kemoc and I learned other weapon play with a rapidity which pleased our instructor; and he was not in any way easy with us.
It was during the summer of our twelfth year that we rode on our first foray. By that time Pagar had reduced his unruly duchy to order and was prepared once more to try his luck north. The Sulcar fleet was raiding Alizon, his agents must have reported that. So he sent flying columns north through the mountains, in simultaneous clawing attacks at five different places.
The Falconers took out one of these, the Borderers two more. But the remaining two bands made their way into valley land which the enemy had never reached before. Cut off from any retreat they fought like wild beasts, intent on inflicting all the damage they could before they were dragged down.
So it was that a handful of these madmen reached Es River and captured a boat, putting her crew to the sword. They came downstream with some cunning, perhaps in a very vain hope of reaching the sea. But the hunt was up and a warship was in position at the river's mouth to cut then off.
They beached their stolen boat not five miles from Etsford and the whole of the manpower from the farms around turned out in a hunt. Otkell refused to take us along, an order we took in ill part. But the small force he led was not an hour gone when Kaththea intercepted a message. It came so sharply into her mind that she held her head and cried out as she stood between us on the watch walk of the center tower. It was a Witch sending, not aimed at a girl child a few miles away, but for one of the trained Old Race. And a portion of its demand for speedy aid reached us in turn through our sister.
We did not question the rightness of our answer as we rode forth, having to take our horses by stealth. And there was no leaving Kaththea behind--not only was she our directional guide, but we three had become a larger one in that moment on the tower walk.
Three children rode out of Etsford. But we were not ordinary children as we worked our way across country and approached a place where the wild wolves from Karsten had holed up with a captive for bargaining. Battle fortune does exist. We say this captain or that is a "lucky" man, for he loses few men, and is to be found at the right place at the right moment. Some of this is strategy and skill, intelligence and training serving as extra weapons. But other men equally well trained and endowed are never so favored by seeming chance. Battle fortune rode with us that day. For we found the wolves' den, and we picked off the guards there--five of them, all trained and desperate fighters--so that a woman, blood-stained, bound, yet proud and unbending, came out alive.
Her gray robe we knew. But her searching stare, her compelling measurement made us uneasy, and in some manner broke the oneness of our tie. Then I realized that she had dismissed Kemoc and me, and her attention was focused on Kaththea, and by that direct study we were all threatened. And, young as I was, I knew we had no defense against this peril.
Otkell did not allow our breech of discipline to pass, in spite of our success. Kemoc and I bore body smarts which lasted a few days. But we were glad because the Witch was swiftly gone out of our lives again, having spent but a single night at Etsford.
It was only much later, when we had lost the first battle of our personal struggle, that we learned what had followed upon that visit--that the Witches had ordered Kaththea to their testing and that our parents had refused, and that the Council had had to accept that refusal for a time. Though they were not in any way defeated by it. For the Witches never believed in hasty action and were willing to make time their ally.
Time was to serve them so. Simon Tregarth put to sea two years later on a Sulcar ship, his purpose an inspection of certain islands reported newly fortified in a strange way by Alizon. There was a hint of possible Kolder revival there. Neither he nor his ship were heard from again.
Since we had known so little of our father, his loss made small change in our lives--until our mother came to Etsford. This time it was not for a short visit: she came with her personal escort to stay.
She spoke little, looked out overmuch--not on the country, but to that which we could not see. For some months she shut herself up for hours at a time in one of the tower rooms, accompanied by the Lady Loyse. And from such periods the Lady Loyse would emerge whitefaced and stumbling, as if she had been drained of vital energy, while my mother grew thinner, her features sharper, her gaze more abstracted.
Then one day she summoned the three of us into the tower room. There was a gloom in that place, even though three windows were open on a fine summer day. She gestured with a fingertip and curtains fell over two of those windows, as if the fabric obeyed her will, leaving open only that to the north. With a fingertip again she traced certain dimly-seen lines on the floor and they flared into flickering life, making a design. Then, without a word, she motioned us to stand on portions of that pattern while she tossed dried herbs on a small brazier. Smoke curled up and around to hide us each from the other. But in that moment we were instantly one again, as we had ever been when threatened.
Then--it is hard to set this into words that can be understood by those who have not experienced it--we were aimed, sent, as one might shoot a dart or strike with a sword. And in that shooting I lost all sense of time, or distance, or identity. There was a purpose and a will and in that I was swallowed up beyond any protesting.
Afterwards we stood again in that room, facing our mother--no longer a woman abstracted and remote, but alive. She held out her hands to us, and there were tears running down her sunken cheeks.
"As we gave you life," she said, "so have you returned that gift, oh, my children!"
She took a small vial from the table and threw its contents upon the now dying coals in the brazier.
There was a flash of fire and in that moved things. But the nature of them, or what they did, I could not say. They were gone again and I was blinking, no longer a part, but myself alone.
Now my mother no longer smiled, but was intent. And that intentness was no longer concentrated upon her own concerns, but upon the three of us.
"Thus it must be: I go my way, and you take another road. What I can do, I shall--believe that, my children! It is not the fault of any of us that our destiny is so riven apart. I am going to seek your father--for he still lives--elsewhere. You have another fate before you. Use what is bred in you and it shall be a sword which never breaks nor fails, a shield which will ever cover you. Perhaps, in the end, we shall find our separate roads are one after all. Which would be good fortune past all telling!"
 
Omnibus copyright © 2004 by Andre Norton
Three Against the Witch World, copyright © 1965 by Andre Norton

Most helpful customer reviews

46 of 48 people found the following review helpful.
One of my favorite fantasy trilogies
By ealovitt
"Lost Lands of the Witch World" is a reissue of the very fine Escore trilogy, featuring the adventures of Kemoc, Kyllan, and Kaththea, the three children of Earth-born warrior, Simon Tregarth and his witch-wife, Jaelithe. The three novels combined in this volume are "Three Against the Witch World"(1965), "Warlock of the Witch World" (1967), and "Sorceress of the Witch World" (1968).

Kaththea Tregarth, born one of three triplets, could link telepathically with her birth-brothers, Kyllan and Kemoc. At an early age, she was forcibly separated from her brothers and taken to the Place of Silence to be trained in magic by Wise Women of Estcarp.

In "Three Against the Witch World" narrated by Kyllan, the warrior brother, the triplets escape from witch-ruled Estcarp to the magical land of Escore. There, they accidentally destroy the false peace that had long abided between the great powers of Light and Dark. "Things awoke and gathered, and the land was troubled..." and the three learn that they must fight with the forces of Light, or be utterly annihilated by the Dark.

Unfortunately, in "Warlock of the Witch World" narrated by Kemoc, the wizard brother, Kaththea is wooed by the fair-seeming Dinzil, who is actually a creature of the Great Dark Ones.

Kemoc sets out to win allies against the Dark among the Krogan, who made their homes in the lakes, rivers, and waterways of Escore. When he returns from this failed mission, there are many other battles to be fought in the now-troubled land. During one such engagement, Kemoc is wounded and is almost captured by minions of the Dark, but is saved by the Krogan maid, Orsya. When Kemoc finally returns to the safety of the Valley of Green Silences, he discovers that his birth-sister Kaththea has ridden off to the stronghold of an apparent ally, Dinzil.

Off he goes on another quest into the magic-troubled land, where he meets with the gnarled Moss Wives, and Loskeetha of the Garden of Stones, Reader of Sands. Loskeetha shows Kemoc three separate futures--all which end in the death of his birth-sister, Kaththea, twice by his own hand!

Finally, she who was once a powerful witch is rescued by her brother, Kemoc, but because of her near-alliance with the Dark, Kaththea is stripped of her magic. No longer can she communicate mind-to-mind with her brothers, nor perform the simplest spell of healing.

A witch without her magic is a very dangerous thing to be in Escore: a vessel waiting to be filled by the Dark. In "Sorceress of the Witch World" narrated by Kaththea, the witch sister attempts to return over-mountain to Estcarp to seek help from the Wise Women, but is caught in an avalanche and then captured by a tribe of nomadic hunters.

Andre Norton is a scholar of Amerindian history and lore, and has incorporated her knowledge in many of her novels, e.g. "Sioux Spacemen" (1960), and "The Beast Master" (1959). The dog-sleds and temporary dwellings of the Vupsall, the people who capture Kaththea, are yet another example of Norton's borrowings from history and anthropology, although this particular Escorian tribe also works metal (maybe a touch of Finno-Ugric, rather than Amerindian).

At any rate, this author's careful attention to detail will bring to life the dimly-lit interior of Utta, the Wisewoman's tent where Kaththea begins to reacquire the magic that was her birthright.

The Dark receives a very satisfying thumping at the end of this fine fantasy trilogy, which does not suffer in comparison with Ursula K. Le Guin's Earthsea books. In fact, my own personal preference is for Norton's Witch World.

0 of 0 people found the following review helpful.
The adventures of the Tregarth children
By Catherine Mackay
Lost Lands of Witch World is the omnibus edition of Three Against the Witch World, Warlock of the Witch World and Sorceress of the Witch World. I have to say reading these books again brought back feelings of nostalgia for the Witch World novels I read and loved as a teenager in the late 70's and early 80's. Did I still enjoy them thirty plus years later? Yes, I did!. The adventures of the three Tregarth children held my eyes glued to the pages as they discovered the mysteries of the land of Escore in all its beauty and danger. What Norton seems to do so well, is use the first person narrative to great effect. It almost feels like you are right there through Kyllan, Kemoc and Kaththea's experiences, some of which are so detrimental that they put their friends lives at risk, as well as there own, from the evil forces that walk the battle scarred lands of Escore. My heart was in my mouth on several occasions wondering if Kyllan, Kemoc and Kaththea were actually going to survive and the end was, I have to say more than satisfying.

8 of 8 people found the following review helpful.
Lost Lands of Witch World - Witch World Trilogy
By Margaret A. Foster
As series are finding their way to the Kindle market, Witch World was one that I really hoped would make it. As of this writing, the first three books "Witch World," "Web of Witch World" and "Year of the Unicorn" have not shown up in Kindle editions.

But the second part of that series, featuring the children of Simon Tregarth and Jaelithe is available both as separate stories and as a single file trilogy. "Three Against the Witch World," "Warlock of the Witch World" and "Sorceress of the Witch World" as a collection in "Lost Lands of Witch World" in the Kindle edition is what I am reviewing.

Andre Norton leaves hard core science fiction behind in this trilogy and moves into Science Fantasy. Gone are the space ships and any trappings that might have held the first three books to the science fiction genre. Ms. Norton goes completely into fantasy - as was made popular in the mid to late 60s. But this does not distract from the stories or the works themselves. They were fresh then, and the quality of storytelling has not lost its luster over time.

Ms. Norton created a very unique world in Estcarp. I have always found her ability to write descriptive fiction wonderful and deliberate, moving the reader along in her worlds comfortably. What seems alien at the start becomes a delight to the mind's eye and comfortably familiar. Her characters are well developed, each having a personality we can identify with, drawing us into the story, yet always retaining the adventure that science fiction fans crave. And I love the use of language in her stories - rather archaic but still easy to understand. This strategy for creating an alien world lends flavor to her world through her use of an unusual blending of words and phrases that seem to roll off the characters tongues and has a strange sound to our minds.

And there is plenty of adventure here. We follow the lives of the three children of Simon Tregarth as they grow up after he has disappeared and their mother leaves them to find him. The three children are left to find their own way in the world of Estcarp. They are very special, each having their own unique powers but all bound together. And their future abilities have been pre-determined by their mother.

They eventually have to flee from Estcarp because of their uniqueness and enter into the magical and mystical world of Escore, just over the mountains and through the spell barrier that kept the two parts of the same planet apart. And we find ourselves amongst enchanted creatures, magical beings and a world trying to maintain its balance against the forces of evil.

This is a low tech society, as is common among many of the science fiction writers of that time. We see the battle here becomes swords and magic - technology has but a brief mention in the blasters that are left behind in favor of swords.

The books follow how the magic brought by the three offspring effects the new land, and how they grow, change and fight their way through their new world. There is adventure, romance, magic, and war; just what every science fiction or fantasy fan looks for. Ms. Norton proves she is a weaver of tales in this series - which is why her writings have endured.

There are other books to the series besides the six mentioned, a few of them are available on Kindle. So it looks promising that more of her work will make it to Kindle eventually. The version that I have is free from the plague of spelling errors that appear in many of the science fiction works that were rushed to the kindle market. That I paid for it rather than it being a free version probably has a lot to do with it, but the price is very reasonable for this three book collection.

If you are a fan of Andre Norton and probably read the Witch World series when you were younger, you deserve to treat yourself to a revisit of this world and it's very special magic. If you have never encountered Witch World or Andre Norton, grab a copy and settle in for an adventure you will never forget by a writer who really knows how to weave a story. boudica

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^^ Fee Download The Sons of Heaven (Company), by Kage Baker

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The Sons of Heaven (Company), by Kage Baker

This is the Kage Baker novel everyone has been waiting for: the conclusion to the story of Mendoza and The Company.  In The Sons of Heaven, the forces gathering to seize power finally move on the Company. The immortal Lewis wakes to find himself blinded, crippled, and left with no weapons but his voice, his memory, and the friendship of one extraordinary little girl. Edward Alton Bell-Fairfax, resurrected Victorian superman, plans for world domination. The immortal Mendoza makes a desperate bargain to delay him. Enforcer Budu, assisted by Joseph, enlists an unexpected ally in his plans to free his old warriors and bring judgment on his former masters.  Executive Facilitator Suleyman uses his intelligence operation to uncover the secret of Alpha-Omega, vital to the mortals' survival. The mortal masters of the Company, terrified of a coup, invest in a plan they believe will terminate their immortal servants. And they awaken a powerful AI whom they call Dr Zeus. This web of a story is filled with great climaxes, wonderful surprises, and gripping characters many readers have grown to love or hate. It's a triumph of SF!

  • Sales Rank: #1989211 in Books
  • Brand: Brand: Tor Books
  • Published on: 2007-07-10
  • Released on: 2007-07-10
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.53" h x 1.38" w x 6.42" l,
  • Binding: Hardcover
  • 432 pages
Features
  • Used Book in Good Condition

From Publishers Weekly
This convoluted conclusion to Baker's Company novels (after The Machine's Child) explores the events leading up to July 8, 2355, the moment when the Silence falls and all future contact is cut off for the immortals and cyborgs who travel through time collecting human artifacts on behalf of the profit-hungry Dr. Zeus Inc. As the Silence draws near, splinter groups begin jockeying to benefit. A human cabal plots, somewhat hilariously, to take out the cyborgs with poisoned chocolates. The cyborg Lewis, desperate to warn others of the injury done him, lies wounded in a burrow, telling disoriented stories to a woman with strange powers. On a deserted island, Mendoza bears two children to her husband, Edward, and gives them the minds of her ex-lovers, Alec and Nicholas, proving that cyborgs are capable of creation. The intertwining stories all come together in an explosive denouement that heralds the end of the Company, but the beginning of something strange and new. (July)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Bookmarks Magazine
Overall, critics raved about the reputed conclusion to Kage Baker's Company novels (after The Machine's Child). Readers of the previous nine in the series will recognize familiar faces: all of the characters that have appeared before have at least walk-ons in the latest volume. While the panoply of characters and the convoluted plot give the novel a crowded feel, the action moves fast, despite some repetitive scenes. Reviewers debated the conclusion to this conclusion; most thought it an unexpected, appropriate finale, while one thought it petered out. "The Company novels have never received the accolades they deserve," noted the San Francisco Chronicle. Here's a reminder for more readers to give the series a try.
Copyright © 2004 Phillips & Nelson Media, Inc.

From Booklist
To conclude the annals of the time-traveling Company, the secrets of the Silence are finally revealed. All time lines lead to the last date of recorded history, in July 2355, after which nobody, not even those accustomed to knowing all history, knows what happens. Mendoza and her lover, superhuman Edward Bell-Fairfax, are married; his other two incarnations, Alec and Nicholas, become her children. Edward, who has always plotted world domination, changes as he is drawn into being a father, and because he and Mendoza have discovered how to be unencumbered by linear time, they have all the past to prepare for the Silence. Suleyman, the immortal Facilitator, has uncovered the secrets of Alpha-Omega, which is vital to the survival of mortal humans. The board of directors, meanwhile, terrified of what might happen after the Silence, prepares for the worst and in the process activates the AI Dr. Zeus. The enforcer Budu gathers his forces for a final strike. The climax is perfectly in character for Baker's world, and all the threads of the Company's plots are neatly woven together. Schroeder, Regina

Most helpful customer reviews

41 of 47 people found the following review helpful.
The Company at the end of time
By Bob Nolin
I highly recommend the Company series, if you enjoy witty, well-written, fun science fiction, ala Connie Willis (though I think Baker is the better writer). This is the eighth and final novel in the series, though there are side-books containing shorter forms.

Unlike most series, however, the publisher does not put numbers on them (e.g., "the first book in the Company series"). And you do really need to read them in order (though there are few you could skip without missing a whole lot, IMHO). Also unlike some series, the books do not recap what has gone before, really. So, beware. For your reference, here they are, with a brief subjective comment:

1 - In the Garden of Iden (The Company). Possibly the best of them all. If you don't like this one, don't waste your time on the others! This one explains the premise for the series. Start here.
2 - Sky Coyote (A Novel of the Company, Book 2). You can skip this one and not miss anything critical. It was just okay, in my opinion. If you like the Joseph character, read this one.
3 - Mendoza in Hollywood: A Company Novel (The Company) A neat book, and quite necessary to the whole.
4 - The Graveyard Game (The Company)Features Joseph and Lewis. Not really necessary, and not one of the better ones.
5 - The Life of the World to Come (The Company)Okay, I lied, the first book isn't the best one. This one is. Some people don't seem to like the Captain, but I thought he was a hoot. Who wouldn't like to have their own personal AI buddy looking out for us? Arrr.
6 - The Children of the Company (The Company)Less like a novel, and more a collection of stories/novellas, all about the bad guys. I wouldn't have minded missing this one.
7 - The Machine's Child (The Company)Though some reviews were negative about this one, I liked it. Necessary plot information here, too.
8 - The Sons of Heaven (the book in question) Finally! The answers to all are revealed, and very satisfyingly, too. Sorry to see the series end, but I'm glad to see I haven't wasted my time tracking all these books down and reading them. Which leads to another complaint about the publishers:

Why aren't these books available? The first one is very hard to find. The Science Fiction Book Club has been issuing the series in pairs, but as of right now the first two "omnibus" editions aren't available used. The last four are in print right now, issued as "Company Men" and "The Company They Keep."

As for the books themselves, I have only a few minor peeves. The author is from California, and has a background in Elizabethan England. Virtually every scene happens in one of these two locales. Gets a bit dull after 8 books. On the other hand, the authenticity of her language is wonderful in Garden of Iden.

The other peeve is that the "little people" are never explained properly. Who are they? Where did they come from? What is "the Memory"?

The bad guys (the evil immortals) are a bit cardboard, I thought. And the humans (non-immortals like you and me) of the 24th century are so pathetic it's a bit overdone. Surely it would be possible to empathize with the immortal good guys without having such simply bad enemies and simply stupid human race in need of saving. So, it could've been a deeper, more sophisticated series. As it is, the Company series is mostly a romp, and a lot of fun. I'm sorry to see it end.

13 of 13 people found the following review helpful.
too many dei ex machina can spoil the broth
By R. Kelly Wagner
As the conclusion to the Company series, of course everyone who is following the series has to read this book, and it wouldn't matter how many stars I did or didn't give it; you'd be reading it anyway. That said, I feel obliged to warn you that it is NOT a perfect ending to the series. (And, I should point out, it's not necessarily the last book ever to be written within the series - only the last events to be written about.)

A few too many people develop godlike powers here, powers that there really aren't sufficient bases for. Budu and his enforcers flawlessly revived and with all their old skills and nobility, William Randolph Hearst being more all-knowing than ever, Alec, Nicholas, and Edward all turning into omnipotent beings... it's a mess. Oh, and an AI who *is* Dr. Zeus turns up, with a total lack of logic and continuity. And Mendoza remains the simpering moron she turned into, with an overlay of maudlin traditional mother staying at home and minding the kids, which is totally ridiculous. It's not Mendoza anymore; Baker should have just invented a new character for this, two books ago.

There are several new characters, by the way, of whom my favorite is Princess Tiara Parakeet. Don't laugh; she's a true heroine.

But the book does tie up most of the loose ends, and ties up some of them with great style. The dinner party thrown by Victor, to which Labienus and Aegeus are invited, is an absolutely superb section. And it contains one of my favorite little asides in the book - there are many references to bits of culture throughout the ages, especially music. Earlier in the book, there's a point where Edward asks the Captain to play some music, and the Captain selects something from "Edward's two-hundred-and-ten volume set of the best of the Black Dyke Mills Band" which will be unfamiliar to most of you, but to those of us who have been playing band instruments and going to band competitions for years, that's a great line - and my spouse sat up and said, "Hey, I want that set!" Anyway, Victor's dinner party has music on the theme of death, starting with Mozart's "Requiem" and going on to Liszt's "Totentanz," and then,
"With the salad course came the second movement of the 'Discworld Symphony' by Brophy with its outrageous flatting bassoons for Death's recitative..."
That made me laugh out loud.

If you haven't read the previous books in the series, then all the above references to various characters make no sense. And indeed, the whole book will make no sense - you've got to have read the rest of the series first. All of it. If you've skipped anything, you'll miss part of what's going on here, and if you've skipped the previous two books, which had flaws and moments of incoherence, then you'll be even more befuddled, so, flaws and all, go back and read them first.

Okay, so I didn't like how Edward and Mendoza turned out, but I do like how Victor, Lewis, and Joseph turned out. I enjoyed the book more than not, hence 4 stars. I guess what annoyed me most was that the mortals who were smart enough to set up Dr Zeus Inc were stupid in unlikely ways - yes, I know smart people can have their blind spots, but the complete incomprehension of the mentality of the cyborgs, by the people who created them, just isn't likely and nothing Baker says here makes it feel likely. The plot device that's supposed to kill the cyborgs is a really stupid plot device. And I agree with other reviewers that the epilogue is unnecessary and pointless. I did like that the peculiar blind spots of the hill people did make sense and had continuity with what we knew about them before. And if I had to choose the hero I liked best, I'd choose not Alec/Nick/Ed, but good old Preserver Lewis, blind Homer reciting poetry as he awaits his fate.

My recommendation: put on a selection of classical music that features the Dies Irae and pour yourself a glass of Black Elysium, to best enjoy the book.

5 of 5 people found the following review helpful.
I wanted to love it--and I did, for a good part of the book
By J. W. Henderson
Let's start with the epilogue, shall we? Look, the last line stinks to high Heaven. It's about as bad as my pun. Worse, really. The whole page is trite, unnecessary, and too predictable to be anything but just plain bad.

God, I hate saying that. I absolutely loved Baker's Company Novels. It's just that--well, I threw the book after reading the final line.

But, hey, you see four stars beside this review, yeah? So it's not all bad, okay? You have to have read the rest of the novels to really appreciate this one-but if you have, you will laugh, cry, and scream about what the cyborgs do and go through. Amazon describes the book as "convoluted," but I really don't think that that is fair. Kage Baker has been developing a short story voice for her series for some time now, and it all works to drive the story quite well.

I thought that a couple of the side-plots (they're not so much side-plots as they are logitudinal plots leading up to a single point) dragged on a little long, and there were a couple of unnecessary author-to-reader quips, but all in all each story line was engaging and--in the end--logically played out.

Back to the ending, but before the epilogue. At first, when I realized the direction it was headed, I rolled my eyes. But it actually plays out quite well. Everything ties together, and the last two chapters were very satisfying.

A couple of notes on another's review:
I disagree that the "bad guys" were two-dimensional. If anything, they were as conflicted and hypocritical as the "good guys." Further, even though they are all ultimately held to the same degree of accountability, there was a tiered approach to their motivations and level of immorality. Plus, given the several story approach of the entire novel, all the characters were a little flat.
As for "the little people," you must be forgetting the previous novels. It's pretty clear how they came about--without spoiling anything, I'll just say that the people in the Hill start out like every other competing "human" at the beginning of time, and that the Company had its hands in their development just as much as anything else.

All in all, Sons of Heaven was a very good book, but with a very bad last page. Save yourself thirty seconds by not reading the Epilogue, and you'll close the series with a very satisfied feeling.

**potential spoiler (not really, but kind of)**

But, hey, anyone else get the feeling that this may be the end of the Company Novels, but that the story could easily go on?

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