Showing posts with label Salt Publishing. Show all posts
Showing posts with label Salt Publishing. Show all posts

Monday, 30 March 2020

A Brief Statement on Behalf of the Bereft Mother

She was the light of my life, my only child,
and now I live in darkness.
I exist but I am not alive.

There is never a day
when she is not my first thought
when I awake.

I feel like my heart has broken into a thousand pieces.
I can’t believe she will never walk through
our door alive again.

Never will I forget her.
Not until the end of my life.

There is no reason on God’s earth for this.
Honest to God,
I wish there was justice.



The last time I prayed was in the Lady Chapel at Ely cathedral where all the statues in their niches and the ‘superstitious’ shrines are destroyed. They were smashed by the iconoclasts following the Dissolution. It’s a barren, soulless spot to choose for prayer. I wonder what Jung would have thought?

The prayer is from        
The Three-Tiered Grave        
Sister Morphine (2008)         


Catherine Eisner believes passionately in plot-driven suspense fiction, a devotion to literary craft that draws on studies in psychoanalytical criminology and psychoactive pharmacology to explore the dark side of motivation, and ignite plot twists with unexpected outcomes. Within these disciplines Eisner’s fictions seek to explore variant literary forms derived from psychotherapy and criminology to trace the traumas of characters in extremis. Compulsive recurring sub-themes in her narratives examine sibling rivalry, rivalrous cousinhood, pathological imposture, financial chicanery, and the effects of non-familial male pheromones on pubescence, 
and Listen Close to Me (2011)

Friday, 24 November 2017

Killers Slipping Through the Net: Murder in a Paranoid Nanny State . . . Christina James’s Fair of Face.

It will strike discerning readers of Fair of Face that the central problem confronting the major incident team, in Christina James’s new and totally gripping torn-from-the-front-page thriller of a double murder on a Lincolnshire sink estate, is their resigned surrender to compassion fatigue induced by the conduct of any number of unconscionable dependants of Benefits Britain they encounter within today’s dystopian underclass. 

‘Don’t be nesh,’ a suspect cautions an apparent accomplice who’s reluctant to enter the crime scene but, before this compelling account of seemingly motiveless malignancy is ended, the reader may be sure they too will share the cold dread that comes from uncommon knowledge of macabre and incomprehensible crimes . . . the killing of a sleeping infant and mother, and a mindless family massacre.


‘We cannot see into the mind of another,’ a celebrated Scottish judge once concluded before sentencing the accused to be hanged for an unusually inhuman murder. ‘The springs of action are hidden. Human personality is such a mysterious thing that one person can never enter into the personality of another. All we can do is judge them by their acts and conduct and by surrounding circumstance.’

His bleak summing-up can be taken as almost a formula for the psychological police-procedural crime novel, which as a genre withholds moral judgement and shuns an authorial point of view with no glib answers forthcoming in denouements that very often, far from unknotting the narrative, tighten the mystery with a further series of unexpected twists. In short, if we consider the prime suspect in any superior suspense novel as a notional conflicted ‘analysand’ in an unresolved case of psychotherapy, then the crime novelists who emerge as the most distinguished open-minded documentarians of contemporary anomic murder will be found to be adherents of that student of early psychiatry, Dr Chekhov, a literary social scientist who declared he had no ideology and no convictions yet denied he was an indifferentist.

Specifically, the objective yet compassionate Chekhovian crime novelist adheres to this author’s belief that what is obligatory for the writer ‘is not solving a problem, but stating a problem correctly.’ So . . . when the reader is faced with a vicious crime (described relativistically and not by an omniscient narrator), can one be certain of one’s own moral compass to judge?


Self-deception in a speckled mirror.

Such a novelist is Christina James, whose forensically scrupulous prose in her latest DI Yates novel, Fair of Face, the sixth in her crime thrillers, features a methodology that imitates the split-screen effect of diverse testimonies from both the crime team and their suspects and witnesses, all to some degree the depositions of unreliable narrators who are wanting in self knowledge. Even Detective Inspector Tim Yates is revealed as blinkered to his own bad habit of taking the credit for the successes of his loyal Detective Sergeant, Juliet, his ‘unofficial Girl Friday’ cast in ‘the nice tea lady role’, for whom equally there dawns a recognition of damaging character flaws, ‘I stare at my face in the speckled little mirror that hangs over the sink . . . I’m thirty-five years old and I’ve never understood less what I’m doing with my life.’ Loyal readers recognise that James is an astute anatomist of the dynamics of command.

These character flaws not only impede the investigation but are further exemplified by the blundering actions (‘mealy-mouthed do-gooding’) of a number of do-gooders from the Social Services, whose  prickly demarcation disputes between departments compound a bien pensant bureaucratic correctness that amounts to a virtual paranoia consuming the Nanny State. These passages of the novel are social satire of a high order, as if from the pen of a latter-day Zola to skewer petty officialdom’s buck-passing, which in this case fatally sets in motion the final tragedy. The character sketches of a professional child psychologist are the most acute: ‘She’s wearing a mid-calf dirndl skirt and a broderie anglaise blouse with huge puffed sleeves. Her thick blonde hair has been tied back with a piece of embroidered ribbon. She could pass for a very generously-proportioned Coppélia . . .  with an aggressive brand of altruism.’ 

It is to be this fierce self-deluding altruism of the ‘Responsible Adult’ that hinders the investigative interviewing and blinds the investigators in their race to identify the true criminal intent behind the crime.  

Crucially, the DS, Juliet, protests to the child psychologist: ‘You know I’ll have to interview her again. I’d be grateful if you could let me get through it without interrupting. You can see how important it is . . .’
[Child psychologist] ‘My job is to protect her interests.’ She’s gripping the iron bannister rail. Her knuckles are white. ‘If I think the interview is distressing her too much, or causing her to incriminate herself unfairly, I shall insist that you stop.’

(How vivid! The child psychologist ‘was wearing a floor-length red cotton tartan skirt and a jacket with a nipped-in waist (insofar as it was possible to nip in her waist) in a clashing tartan of purple and blue.’ A note to movie producers (and their costume department): the depth and quality of Fair of Face as a suspense drama is positively filmic, as is the intensely sharp focus on its dramatis personae. And for set designers the mise en scène of the death scene is a marvel of concision. ‘There’s not much furniture in the room besides the double bed and a small old wardrobe with an oval mirror set in the door. Otherwise, just a chair with a rounded back that might have started life in a pub. It’s heaped with clothes.’ Started life in a pub. A Jamesian line that fully expresses the desperate hardscrabble times and familial dysfunctionalism of her Provincial Noir milieu. Feckless ‘on-off fathers who wouldn’t take responsibility for their children.’)

In many ways this mapping of tensions between the individual and a paranoid society reminds one of certain polemical works of fiction by Heinrich Böll, his Brechtian-styled political critiques of governmental dogma and the herd mentality of state functionaries . . . in this instance, a paranoid bureaucracy of exhausted, overworked and often demoralised social workers, a breeding ground, as frequent headlines tell us, for errors to multiply. Certainly James’s austere but muscular prose recalls the calculated intention of Böll’s devastatingly incisive reporting style.

James’s striving for objectivity, with multiple viewpoints, deconstructing events with documentary footage, as it were, brings these societal tensions to life with a naturalism that mirrors the inconclusiveness and mysteriousness of quotidian existence and the violent psychical forces that can be unexpectedly unleashed at an underclass’s Ground Zero. 


Lessons will be learnt?

Mercifully, we do not hear the emollient cliché in this novel so often broadcast after tragedies of the gravity explored in James’s fiction; she, as a social realist disdaining sententiousness, leaves it unsaid. (‘It is better to say not enough than to say too much.’ Chekhov.) In real life, after such failures of the Social Services documented in Fair of Face, we are told that ‘lessons will be learnt’, but James’s ‘mealy-mouthed do-gooder’, in his defence, has this to say:  

‘That’s the problem, isn’t it? Every one of the people you mention was responsible for her physical or mental safety, or her day-to-day care, or some other fragment of her life, but no-one wanted to take on board what she had become.’

In other words, too much altruism makes do-gooders blind. It’s smother love. The Nanny State, in smothering, inadvertently kills. 


Predictive plotting.

Astonishingly, the events of James’s novel all too faithfully mirror certain notorious crimes recorded in the British tabloids (Sussex 1985 and Lincolnshire 2016) in so far as her narrative exhibits a very strange aspect indeed . . . the unexplained manifestation of predictive plotting. How is it, readers are going to ask, how is it that the grim epicentre of James’s crime novel – Spalding in South Lincs – was anticipated as the crime scene for a callow nihilistic murder in 2016 of a mother and child while they slept? Given that the gestation of a complex novel of some 300 pages, one would think, can be no less than eighteen months, never mind its production to publication (October 2017), how were the fictive crimes of Fair of Face foreseen, when the double murderers dubbed the ‘Twilight Killers’ killed in actuality in a remarkably similar manner in Spalding in April 2016? 

They say that you can make your own luck, but – the question remains – can a place make a crime? If this is the case, I would not want to be a denizen of Spalding with Christina James as my bard. Like Chekhov’s world, one enters a dimension of no neat answers.

For a view of the first of Christina James’s crime novels, In the Family (2012), the welcome debut of her Detective Inspector Yates series, see Eisner’s blog-post at:
http://catherineeisnerfrance.blogspot.co.uk/2015/07/christina-james-telling-detail-of-her.html

See also, ‘I am a Serial Killer Diarist’ . . . Unremarked Clues to Two Notorious Crime Sprees (John George Haigh and Colin Ireland) . . .


Catherine Eisner believes passionately in plot-driven suspense fiction, a devotion to literary craft that draws on studies in psychoanalytical criminology and psychoactive pharmacology to explore the dark side of motivation, and ignite plot twists with unexpected outcomes. Within these disciplines Eisner’s fictions seek to explore variant literary forms derived from psychotherapy and criminology to trace the traumas of characters in extremis. Compulsive recurring sub-themes in her narratives examine sibling rivalry, rivalrous cousinhood, pathological imposture, financial chicanery, and the effects of non-familial male pheromones on pubescence, 
and Listen Close to Me (2011)

Monday, 25 September 2017

A Web Link to Catherine Eisner’s published works . . .

Publishers of Catherine Eisner, Salt is one of UK’s foremost independent publishers, committed to the publication of contemporary British literature. Salt Publishing was founded in 1999. 

    For more information :


Friday, 10 July 2015

A BAD CASE and Other Adventures of Disturbed Minds


http://www.saltpublishing.com/products/a-bad-case-9781844719624


From Publisher’s Announcement

What links Clorinda to the mysterious disappearance of her new friend Theresa, in broad daylight, on the streets of New York? What is the true relationship between high-born, nine-year-old Elise von Alpenberg and her sinister guardian, Kepler von Thul? Why does young Marthe’s uneasy interview with the notorious spy, Anthony Blunt, stir up suspicions of complicity against her boss, the Establishment socialite Barbara Ely? And who is the true Fourth Man? And what connects Barbara to Constance Bryde, an unfaithful wife enmeshed in the cat-and-mouse surveillance operations of a divorce solicitor’s enquiry agent? Or how will jilted mistress, Rhona, deliver a long-overdue comeuppance to her Significant Other, the supercilious on-screen Talking Head? And who, you may well wonder, is the next doomed subject of portraitist Deverell-Hewells’s murderous thoughts? And, finally, can Nina discreetly maintain the façade that hides the eternal triangle of her complicated lovelife? These questions and more are answered in Eisner’s third series of mordant case histories intimately documenting bizarre dramas triggered by the subclinical dependencies of disturbed minds.

Published this year
Pages        :       244pp
Format     :       Paperback
Trim Size :       203 x 127mm
Publisher :       Salt Publishing (21 Jan. 2015)
Language :       English
ISBN-10   :       1844719626
ISBN-13   :       978-1844719624


From Publisher’s Clippings File for Catherine Eisner’s Fiction


A meticulous recorder of behaviour, pitch-perfect on accents and the faultlines between class, sex and age, Eisner imbues each account with an unsettling verisimilitude that reaches its peak in ‘An Unreined Mind’
Cathi Unsworth The Guardian

Eisner’s collection is subtitled, Hidden Lives of Love, Madness, Murder, Loss and Deception, and while the sense of madness and loss is amplified by the book’s extraordinary and disturbing cover, there is also a tremendous sense of fun here. The title story is the last testament of its asexual narrator. It’s a odd story, full of strange characters and erotic imagery: the narrator’s husband refers to her as his ‘long noodle’, and poor Uncle Irving’s body has to be identified by dental records – all that is left of him is his toupee. The stories in this collection are dark and the characters are ‘driven by bizarre and sometimes criminal compulsions.’
Carys Bray Postnatal Confession

I’ve long been an admirer of Catherine Eisner’s piquant and highly original fictions in the literary journal, ‘Ambit’, and of her singularly rich pictorial and sensuous prose. Here at last she is given a very much broader canvas for her character studies of women at the end of their tether, though it’s the minute detail of their dysfunctional, drug-dependant (and even criminal) lives I admire so much. 
Johanna Behrendt  Editor

Eisner herself intrigues me almost as much as her work. This is because she is profoundly knowledgeable in so many different fields: she understands the pop scene of the 1960s; she obviously knows a lot about the publishing industry; she exhibits more than a passing acquaintance with a wide range of ‘mind-altering substances’; she is erudite, although she wears her learning lightly, pronouncing telling mots justes upon the giants (and some of the minnows) of Western civilisation’s authors, artists and musicians across many centuries; she understands Latin and several European languages besides English; she has an acute ear for dialect (in A Bad Case, southern Irish, especially) as well as the varying cadences of speech that derive from differences in social standing; and, if she has not lived among the British aristocracy, she has clearly had opportunities to observe it at first hand. Wow!
Christina James  Crime Novelist

Eisner has mastered the twist in the tale and her stories cascade vividly into derangement.
Cameron Woodhead  The Age 

. . . a genuinely unsettling voice, at once comic, intelligent and slightly, scarily deranged . . . a true technical triumph. 
Kate Clanchy  MsLexia

Erotic . . . enthralling . . . very pictorial . . . very original.
Neville Marten  Ink


Extracts from Narrative (Pages 145 – 196 A Bad Case)

In the humdrum is the beginning of murder.
        Since breakfast, by slow degrees, a dark cloud had descended upon my consciousness, assuming a quality of sinister significance to which I was compelled to give thought.
        I shivered, and at last conceded that an acute and homicidal hatred, with all the cunning of actual lunacy, now exercised an absolute mastery over my will. 
        I removed my fountain-pen from the breast pocket of my medical white coat and marked an X on the breakfast tablecloth beneath an offensively large bread crumb.
       Just then I did not wish to be reminded of my marriage to Ingrid but once the idea had gripped my mind no steps I took could shake it off.
       For mad I most certainly was that morning of the abandoned breadcrumb.
       Once the grotesque problem of murder began to dominate my thoughts, it haunted me like a presence, and temptation grew apace.  
       The descent into Hell is easy.


Do I need to describe my wife when an artist greater than myself has captured her essence . . . It’s a living likeness! For long ago she had reached that moment in the passage of a woman’s life when, as it is said, the mirror no longer returns the expected consoling reflection and, therefore, must be turned to the wall.
                                                                   Royal Portraitist Prof. Anthony Deverell-Hewells
                                                                   Now You See It, Now You Don’t.


Catherine Eisner believes passionately in plot-driven suspense fiction, a devotion to literary craft that draws on studies in psychoanalytical criminology and psychoactive pharmacology to explore the dark side of motivation, and ignite plot twists with unexpected outcomes. 
see Eisner’s Sister Morphine (2008)
and Listen Close to Me (2011)

Tuesday, 27 September 2011

Sister Morphine: ‘darkly comic and unputdownably brilliant’.



Sister Morphine

Women’s Narratives from the Case Notes of a Community Psychiatric Nurse

The principal theme of my 'Sister Morphine', published in 2008, is the sheer unpredictability of women's behaviour when conditioned by prescription drugs. For this suite of interconnected women's narratives I have refashioned case histories as fictions to delineate the effects of drug administrations on clients observed in psychiatric nursing and psychotherapy ... particularly,  the more bizarre asocial psychoses  – and sometimes criminal behaviour – made manifest by the multifaceted side effects of prescription drugs such as antidepressants, tranquilizers and mood stabilizers.

In ‘Sister Morphine', fifteen women - Felícia, Charlotte, Zoë, Elenore, Eveline, Miriam, Grete, Esther, Marianne, Irina, Mary, Elspeth, Theresa, Isolde and Roberta - will unveil their psychoses to you ... but not until the last page do they unlock the unsuspected secret that unites their destinies.

PUBLISHER'S DESCRIPTION: Masterful, darkly comic and unputdownably brilliant, this first novel by Catherine Eisner is an instant 21st-century classic. Sister Morphine tackles themes of suicidality, sibling murder, child abuse, morbid self-harm, guilt, jealousy, incest, drug addiction, infidelity, illegitimacy, obsessive compulsion, bereavement and a case of grand larceny in the second degree. All wrapped up in the confidential case notes of a Community Psychiatric Nurse exploring the multifaceted side effects of psychoactive drugs.



'Eisner has mastered the twist in the tale and her stories cascade vividly into derangement.'
Cameron Woodhead
THE AGE


'… a genuinely unsettling voice, at once comic, intelligent and slightly, scarily deranged … a true technical triumph.'
Kate Clanchy
MsLEXIA


'Erotic … enthralling … very pictorial … very original.'
Neville Marten
INK


http://www.amazon.co.uk/Sister-Morphine-Narratives-Community-Psychiatric/dp/1844712990


Extract : Dispossession (Patient ID CPN0312110842: Mary H.)


I can remember in every bright-etched detail the precise moment I first decided to murder my brother.
    I had returned to our family home, the day after my mother’s funeral, to discover he had changed the locks.
    I knocked on the bay window for several minutes before he emerged, obviously hungover, yawning lazily like a sated cat.
    He stretched his arms and barred the hallway.
    ‘Don't come anywhere near this property again!’ he shouted. ‘I don’t want even your damned shadow falling on this house! Understand?’
    He then slammed the door with his boot ...
    ... He had won that last bout, I conceded, but, I vowed, feather by feather this goose would be plucked.


Extract : Soft Skin (Patient ID EP0841060170: ‘Leisha’ Felícia F.)


Now, as she sat at her desk, an hour after the holdup, she marveled at the nerve with which she had outfaced her co-workers who had scrutinized her every move.
She busied herself by filing an interoffice memo entitled, Armed Robbery Prevention Strategies. She glanced at a sub-section which stated:
Unarmed ‘soft-skin’ operators, proportionate to armed security guards under special category instructions, should listen attentively to robbers, be calm, courteous, and patient, and treat the robber as you would a customer. Do not resist, but cooperate unhesitatingly with the robber, as this is the most reliable way to avoid injury.  Don’t try to be a hero.  Take no action that would jeopardize your safety or the safety of others. Activate alarms only if you can safely do so without detection.
Well. As a vulnerable ‘soft-skin target’ she had acted accordingly. She hadn’t resisted. On the contrary!
When Sonny had entered the bank lobby precisely at 4:00 pm, closing time, he was carrying a gray, nylon, carry-on flight bag from which he pulled a silver semi-automatic handgun. He was wearing black motorcycle-type gloves with red stripes running down the fingers. (They reminded Leisha of the burned out veins along Sonny’s pitted forearm.)
He was also wearing a beige hooded sweatshirt, a black baseball cap, camouflaged battle-dress-uniform pants, aviator sunglasses, and a black and yellow bandanna over his lower face.  
The senior police officer had demanded a description of the robber but all Leisha could say she remembered of the incident were ‘three eyes’.
She had rehearsed her statement and knew exactly what she intended to say.  Three eyes. I swear. That’s all I saw. Two eyes leveled at me and the eye of the gun!
She swallowed hard at the thought of those two eyes and that unwinking eye of the gun.
The descriptions of the unknown masked man given by the clerks at the neighboring desks had not been any more conclusive: ‘a hideous little guy with creepy eyes’ and ‘a spaced out drug-nut waving a pistol looking like a mad scientist.’
Leisha recalled Sonny’s sallow face, slick with sweat, and rapid tongue darting to wet his cracked lips. His repetitive demoniacal screaming of ‘Gimme all your money! Right now!’ had achieved its desired effect. Leisha had promptly obeyed.
Sickened, Leisha sat at her position and folded her hands tightly on the desktop to control their shaking.
Across the polished marble floor of the lobby, behind the brass teller cages, she saw the bank’s auditor was glaring at her. He weighed two hundred and eighty pounds and he now presented the appearance of a man who had been recently boiled in a bag.
    After all, the bank’s hard currency reserves had just been depleted by more than a quarter-million dollars.


Extract : A Stranger in Blood (Patient ID CPN0338200976: Elspeth P.)


‘A woman without a past has no future.’ I laughed without thought. ‘The question you should have asked is not where I’m going but where I’m from.’
I rapped my forehead with my knuckles.
‘A locked room mystery for you, look.’ I twisted my hands together.  ‘Locked inside my head the real me is! No way in or out! I know what I know, but no more, see. It’s hopeleth.’
In moments of extreme emotional disturbance I revert to the cadences and syntactical quirks that betray the speech of my Welsh childhood, and the pronounced lisp of my infancy again afflicts my tongue.
My therapist nodded encouragingly, then fingered her chignon to assure herself it had not strayed. She wore a false hairpiece. I did not trust her.
‘I own to being a bastard,’ I said. My lip did not tremble. ‘Satisfied?’
An ‘identity crisis’ had been glibly mooted when I’d earlier confessed to the confusion that bedevils the psyche of an adoptee, and to my reluctance to delve deeper into the mystery of my true parentage: a father unknown, and the identity of my birth-mother withheld by my adoptive parents, Mam and Da.
‘Self-knowledge requires more,’ she put in portentously.
She began to probe further into my past, alluding to childhood phobias.
At which point I clammed up. I’m perfectly aware that ‘basket’ is an English euphemism for ‘bastard’, of course, but I certainly will not openly admit to my compulsive avoidance in supermarkets of the ‘Baskets Only’ checkout line.
The Hospital Almoner handed me Da’s personal effects in a yellow plastic bag intended for the disposal of clinical waste. It contained three items: his dentures, his snuff box and a scrap of charred paper melded to a remnant of his candlewick dressing-gown, evidently cut from his grasp.
A blackened birth certificate . . . Truly, this page might just as well have been a Dead Sea scroll for all the evidence of anyone’s identity it proved because, by a perversity of fate, the essential details of my birthplace and the names of my biological parents, and all other handwritten entries penned by the registrar, had been scorched into oblivion.
It was as though some cosmic dramatist had sketched out an improbable plot with no shred of evidence to even hint as to how to resolve the dénouement of that inscrutable design.
My half-suppressed moan became the senseless giggle of one who laughs to prevent too deep an apprehension of spiritual distress.
I thought: How characteristic of my over-principled Da! Of all the cherished possessions he could have chosen to save from the burning building, he chose, at the eleventh minute of the eleventh hour, the birth certificate he’d never wished me to see!
For, in all the years of my childhood, I never once sought to learn the identity of my natural mother. The very thought of my demanding her name I knew would profoundly upset my adoptive parents, such a fear I had of bringing down on my head the confusion of further rejection.
Besides, my greater fear – more than filling in the blanks, and laying that ghost to rest – was my dread of disappointment, the complete devastation of my persona, should I learn who my biological parents truly were and fail to come to terms with unwelcome knowledge.
So the deed box remained unopened; and I promised myself I would never seriously trace my natural mother while Mam and Da were alive.
My mouth was dry, and I gulped water with an unsatisfied thirst.
The picture of my loss was now clear: my uprighteous God-fearing Da trapped in a burning outbuilding, the protagonist of a tragic morality play of his own contrivance, holding the key to my destiny in his unnaturally white hand.
For now I understood, with a terrible finality, my search for my lost past was, by far too many years, long overdue, and the last traces that could disclose the secrets of my doubtful parentage were crumbling to ashes in my belated grasp.
As I have repeated many times: ‘A woman without a past has no future.’ And an ‘identity crisis’ is too facile a prognosis to describe the dilemma of one whose lodestone is jettisoned before her quest for selfhood can begin. For how else can I regard a life built on falsehood? It may seem difficult for a non-adoptee to understand but it was like looking back on the day when I had first laid the foundation stone of an edifice whose ultimate design I’d never visualised. Now it was erected it was astonishing to see it had no recognisable shape. Yet with such scant clues, tell me, how was I then to rightly learn the answer to the question: Whose child am I?




EAN13:  9781844712991
ISBN:  9781844712991
Author:  Catherine Eisner
Title:  Sister Morphine
Series:  Salt Modern Fiction
Product class:  BB
Language:  eng
Audience:  General/trade
BIC subject category:  FB
Publisher:  Salt Publishing
Pub date:  04-Jul-08
Extent:  496pp
Height:  234 mm
Width:  153 mm
Thickness:  39 mm
Weight:  744 gms
Supplier:   Gardners Books
Supplier:   Ingram Book Group
Supplier:   Inbooks (James Bennett)
Availability:  NP
Price:  GBP 18.99
Price:  USD 36.95
Rights:  World



Catherine Eisner believes passionately in plot-driven suspense fiction, a devotion to literary craft that draws on studies in psychoanalytical criminology and psychoactive pharmacology to explore the dark side of motivation, and ignite plot twists with unexpected outcomes. 
and Listen Close to Me (2011)