By Dick Francis, Felix Francis
An exhilarating new novel from the New York Times-bestselling authors.
Shell-shocked and lacking a foot-lost to an IED in the course of his travel of responsibility in Afghanistan-Captain Tom Forsyth has been despatched "home" by means of the military and, at free ends, returns to his estranged mother's condo for the 1st time on account that he joined up at seventeen. yet Josephine Kauri, the "first girl of British racing," has continuously placed the horses she trains first and her relatives final. Tom quickly unearths himself strained to the brink together with his mom and stepfather.
yet there's one more reason for the stifling stress at Kauri residence Stables: Josephine is being blackmailed for a hefty sum each week-and pressured to make her horses lose. Retirement isn't really an alternative, as she has been warned that it'll lead to the object she so much fears: publicity and mock . . . and felony, while the govt. reveals out what she's been hiding.
Tom units out to find and defeat this hidden enemy utilizing his finely honed army abilities. yet can he retailer his mother's attractiveness and profession, or will he locate himself stuck within the go fire?
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Extra resources for Crossfire
19 The women’s talk takes an unexpected turn when they discuss unwise engagements, and Anne ﬁnds herself once more physically overcome, so much so that attending to the rest of their conversation becomes impossible. She hears “nothing distinctly; it was only a buzz of words in her ear, her mind was in confusion” (II, 11, 251). Once again, Anne hears material that comes home to her, that seems to externalize issues of her own internal life. And on this occasion she sees that Wentworth is listening too.
Elton, which is presented in the familiar bare mode—without any indication of how and where it takes place—and Mrs. Elton (hardly “of such true gentility”) is thus in the background of the reader’s as well as Emma’s mind in this passage. Mrs. Elton then comes to the fore, without a break in the paragraph, in the famous passage about strawberry picking. There then follows one of Jane Austen’s very few genuine descriptive paragraphs, and not a very successful one at that, the description of the gardens of Donwell Abbey, and the lime walk, culminating in the “favourably placed and sheltered” Abbey-Mill farm.
During the later eighteenth and early nineteenth centuries a series of scientiﬁc inventions transformed both the availability and the quality of man-made light. These new technologies of light presented challenges as well as opportunities for visual artists and writers. Paradoxically, the new currency of light invested darkness with new signiﬁcance, a signiﬁcance bound up with the cultural phenomenon we know as Romanticism. At this moment when light was ceasing to be a precious, fugitive and friendly thing, and becoming instead a taken-for-granted aspect of modernity, Jane Austen was writing her novels.