By James Lee Burke
Clutching the shards, of his shattered existence, Cajun detective Dave Robicheaux has rejoined the recent lberia police force.
His companion is dead--slain in the course of a condemned prisoner's bloody flight to freedom that left Robicheaux significantly wounded and reawakened the ghost of his haunted, violent past.
Following the path of the escaped convicts, Robicheaux is quickly drawn again to New Orleans.But this time, the stakes are even higher.He's operating for the DEA undercover in an try to incriminate Tony Cardo, a clinically insane drug lord.But all Robicheaux's fairly received is revenge at the brain. And he'll merely be chuffed while the killers who upended his existence were delivered to justice.
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Extra info for A Morning for Flamingos (Dave Robicheaux Series, Book 4)
He may be human—simply Bertilak turned green— but he may also be just the opposite. Unlike humanized depictions of Morgan, the Green Knight is not a figure who is fully rationalized for the sake of the romance; his depiction is much more subtle, and much more complex. As so often in Sir Gawain and the Green Knight, the Gawain-Poet is actively engaged in tweaking conventions and turning motifs on their head. He first introduces the Green Knight as possibly human (“mon most I algate mynn hym to bene,” 141), but as the romance develops it turns out the Green Knight may be a fairy after all, and at the poem’s end these tensions are brought to a head.
26 However, surveying these depictions chronologically, or, indeed, placing too strong an emphasis on intertextual dependence, may not be the best method for making sense of Morgan’s movement across Arthurian and non-Arthurian texts, as well as her vacillation between human and fairy. This sixteenth-century surge in representing Morgan as fully fairy is probably the result, not necessarily of a widespread reimagining of Morgan across romance text-worlds, but rather of the revival of the French romance heroes Ogier and Huon, to whom Morgan, as fully fairy, had been attached within the internal folklore of their specific romance’s text-worlds centuries before.
30 For the first half of the romance the author presents the heroine, Melior, as a fully mysterious woman with all the trappings of a fairy mistress: beauty, autonomy, inscrutability, and supernatural powers. indd 21 4/11/2011 12:57:17 PM 22 F A I R I E S I N M E D I E VA L R O M A N C E and Partonope will lose his life. In return for his obedience, though, she promises he will live in luxury and all his desires will be fulfilled. 32 Her mysteriousness and marvelous powers aside, the great wealth she bestows on Partonope is accompanied by the imposition of a taboo that carries with it all the arbitrariness characteristic of fairy mistresses.