A handsome ex attorney turned Highway Patrol officer. A beautiful woman in her prime. A famous architect. An FBI agent at the top of his game. The lives of these four people come together in love, deceit, espionage and murder. The story of a boy named Charles. As a child he would put insects and the like in little cages he built. When his father came home he would ask, "Where is the Cager?" the name stuck. He followed in his father's footsteps, attended a university, law school, passed the Bar and joined his father's law firm. He gives up the practice of law to join the California Highway Patrol. The winds were at gale force and the rain was so hard and constant it was almost impossible to see during one of the worse storms in northern California. Cager answered a call to investigate a mountain accident. He couldn't believe it. A boulder had fallen on a car killing the driver instantly. The passenger, a beautiful woman, is barely alive. The oddity of the accident bothered Cager. When the storm subsides he returns to the scene, climbs up the cliff and finds evidence of foul play. The victim, Tobert Tudor, was a world renowed nuclear physicist and biochemist working on top secret synthetic cell- restructuring as well as a new type of explosive. Homeland Security and the FBI become involved and form a Task Force to investigate Tudor's death. Jim Hunt, the FBI agent assigned to the Task Force, uses the vast technical facilities at Quantico to trace backgrounds, travel and bank account information on Tudor's business associates. During the course of the investigation, things start to happen. Cager's house, overlooking the ocean, is ransacked and he is being watched by a man in a small boat. Robert Tudor's wife, Ann, finds her cat crucified on her front door with a note pinned to its body, to give up Tudor's formulas or she would suffer the consequences.The Task Force which includes Cager determines Tudor's death was not an accident but murder. All clues point to possibly someone on the inside of law encorcement.

Redefining Elizabethan Literature examines the new definitions of literature and authorship that emerged in one of the most remarkable decades in English literary history, the 1590s. Georgia Brown analyses the period's obsession with shame as both a literary theme and a conscious authorial position. She explores the related obsession of this generation of authors with fragmentary and marginal forms of expression, such as the epyllion, paradoxical encomium, sonnet sequence, and complaint. Combining recent developments in literary theory with close readings of a wide range of Elizabethan texts, Brown casts new light on the wholesale eroticisation of Elizabethan literary culture, the form and meaning of Englishness, the function of gender and sexuality in establishing literary authority, and the contexts of the works of Shakespeare, Marlowe, Spenser and Sidney. This study will be of great interest to scholars of Renaissance literature as well as cultural history and gender studies.

The current surge of interest in the Elizabethan poet, dramatist, prose-writer and critic, Thomas Nashe, follows years of neglect or undisguised hostility. Yet, as early allusions testify, Nashe was a name which imposed itself on contemporary culture. Nashe annoyed and even disturbed his contemporaries, but they certainly paid attention to him because he pioneered new approaches to writing, and indeed to living, and because he was an astute critic. The essays in this volume have been chosen for the skill with which they present diverse approaches to key issues in Nashe. All Nashe's texts are covered, as are his relationships with contemporaries, like Shakespeare. The introduction analyses different approaches, locating them in the history of Nashe criticism, and suggests areas for future research. It argues that Nashe's importance to Renaissance studies lies in his anomalousness, as he forces us to rethink the Renaissance. He makes the Renaissance unfamiliar again, and pushes criticism out of its comfort zone.

Redefining Elizabethan Literature examines the new definitions of literature and authorship that emerged in one of the most remarkable decades in English literary history, the 1590s. Georgia Brown analyses the period's obsession with shame as both a literary theme and a conscious authorial position. She explores the related obsession of this generation of authors with fragmentary and marginal forms of expression, such as the epyllion, paradoxical encomium, sonnet sequence, and complaint. Combining developments in literary theory with close readings of a wide range of Elizabethan texts, Brown casts light on the wholesale eroticisation of Elizabethan literary culture, the form and meaning of Englishness, the function of gender and sexuality in establishing literary authority, and the contexts of the works of Shakespeare, Marlowe, Spenser and Sidney. This study will be of great interest to scholars of Renaissance literature as well as cultural history and gender studies.

A handsome ex attorney turned Highway Patrol officer. A beautiful woman in her prime. A famous architect. An FBI agent at the top of his game. The lives of these four people come together in love, deceit, espionage and murder. The story of a boy named Charles. As a child he would put insects and the like in little cages he built. When his father came home he would ask, "Where is the Cager?" the name stuck. He followed in his father's footsteps, attended a university, law school, passed the Bar and joined his father's law firm. He gives up the practice of law to join the California Highway Patrol. The winds were at gale force and the rain was so hard and constant it was almost impossible to see during one of the worse storms in northern California. Cager answered a call to investigate a mountain accident. He couldn't believe it. A boulder had fallen on a car killing the driver instantly. The passenger, a beautiful woman, is barely alive. The oddity of the accident bothered Cager. When the storm subsides he returns to the scene, climbs up the cliff and finds evidence of foul play. The victim, Tobert Tudor, was a world renowed nuclear physicist and biochemist working on top secret synthetic cell- restructuring as well as a new type of explosive. Homeland Security and the FBI become involved and form a Task Force to investigate Tudor's death. Jim Hunt, the FBI agent assigned to the Task Force, uses the vast technical facilities at Quantico to trace backgrounds, travel and bank account information on Tudor's business associates. During the course of the investigation, things start to happen. Cager's house, overlooking the ocean, is ransacked and he is being watched by a man in a small boat. Robert Tudor's wife, Ann, finds her cat crucified on her front door with a note pinned to its body, to give up Tudor's formulas or she would suffer the consequences.The Task Force which includes Cager determines Tudor's death was not an accident but murder. All clues point to possibly someone on the inside of law encorcement.

Romantic drama directed by Bryan Forbes. Bruce (Malcolm McDowell) is a lively young man with an eye for a pretty girl. Returning home slightly the worse for wear from drink after a wedding, he suddenly collapses in the lift of the block of flats in which he lives. When he wakes up in hospital, he finds he is unable to walk, and the doctors cannot diagnose his problem. His family refuse to house him, and Bruce is forced to move to a convalescence home where, having becoming increasingly bitter and depressed about his situation, he strikes up a friendship with fellow inmate Jill (Nanette Newman). Under her influence, he begins to enjoy life again. But can their love survive as they struggle with the prospect of moving out of the home and looking for work?

1970s British horror starring Christopher Lee and Peter Cushing as a police officer and a psychiatrist who work together to try and get to the bottom of strange happenings on a remote Scottish island. The island is home to an orphanage that comes to the attention of police colonel Charles Bingham (Lee) when three of its trustees are found dead in a short space of time. Though initial evidence suggests that the deaths were suicides, Bingham is suspicious and enlists the help of Sir Mark Ashley (Cushing) to try and get to the bottom of the mystery.