Fletch and the Man Who (Fletch, Book 6) by Gregory Mcdonald

By Gregory Mcdonald

“A lady jumped off the motel’s roof. 5 mins ago.”

"Give it to me instantly. Does the lady have something to do with us? I suggest, with the crusade? The presidential candidate?"

"It's your task, Fletch, to make damned certain she didn't."

FLETCH and the guy Who
When Fletch arrives because the new press consultant for Governor Caxton Wheeler’s presidential crusade, he isn’t yes which secret to resolve first: what his new task truly is or why the crusade has been leaving lifeless ladies in its tracks.

FLETCH and the fellow Who
He reveals himself at the different facet of the clicking, a human protect deflecting the questions he's asking himself. Are the murders simply twist of fate, or is a cold-hearted killer searching for a role within the White House?

FLETCH and the guy Who
When the crusade shifts into excessive equipment, Fletch’s talents are operating time beyond regulation in a determined bid of his personal to discover the killer and to ensure the governor doesn’t lose any further votes.

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Extra resources for Fletch and the Man Who (Fletch, Book 6)

Example text

Desired it. ’15 Maybe so, maybe not. ’16 What I’m saying was occasioned, however, by a letter I received not long ago, just as I was reading again, for a seminar, The Interpretation of Dreams. It was written by a former student who became the production manager of my KRAKEN group, a nerve-racking job to which he brought, though he looked like an adolescent, extraordinary poise and sensitivity. Mature as he was even then, I still think of him as a young man, as I mostly think of myself as younger than I am, though as the body that knows the difference insists on what it is – neither cultural construct nor ‘incorporated space,’17 some effect of the signifier on the subject – I make a point of accepting, in the inarguable debit of age, the down-to-earth performative being that, since the gravedigger put on the forceps, in the Beckettian view of birth (unalleviated by Bion or Jung), is a lot less long for this world.

Which suggests that, at some limit, you’re dealing with the impossible, arousing an interior violence, which is the mythic source of theater, if we can believe the canonical drama (which moved into psychoanalysis), back through Oedipus to Dionysus, the root not only insane but insatiable as well. And when there is, indeed, physical violence on a stage (which can neither be achieved, escalated, cut away from as on film) – a swordfight, a murder, a rape, Othello smothering Desdemona – you always want more, more, but how far do you go, you wonder, before somebody does get hurt, emotionally or physically – you’re not always sure which is worse.

Hurley, M. Seem and H. Lance, London: Athlone Press, 1984: 101. 22 Sigmund Freud, The Interpretation of Dreams: The Pelican Freud Library, vol. IV: 365. 23 Freud, The Interpretation of Dreams: 365. 24 Jacques Lacan, The Ethics of Psychoanalysis: The Seminar of Jacques Lacan, book XII, ed. -A. Miller, trans. D. Porter, London: Routledge, 1992: 309. 25 Jacques Lacan, ‘Desire and the Interpretation of Desire in Hamlet’, trans. J. Hulbert, in Literature and Psychoanalysis: The Question of Reading: Otherwise: 12.

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