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Edward Whittemore

Nile Shadows

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The third book in Edward Whittemore’s acclaimed Jerusalem Quartet is a riveting tale of espionage and intrigue in which the outcome of World War II and the destiny of the Middle East could hinge on the true identity of one shadowy man 
On a clear night in 1941, a hand grenade explodes in a Cairo bar, taking the life of Stern, a petty gunrunner and morphine addict, nationality unknown, his aliases so numerous that it’s impossible to determine whether he was a Moslem, Christian, or Jew.
His death could easily go unnoticed as Rommel’s tanks charge through the desert in an attempt to take the Suez Canal and open the Middle East to Hitler’s forces. Yet the mystery behind Stern’s death is a top priority for intelligence experts. Master spies from three countries converge on Joe O’Sullivan Beare, who is closer to Stern than anyone, in an effort to unravel the disturbing puzzle. The search for the truth about Stern leads O’Sullivan Beare through the slums of Cairo to a decaying former brothel called the Hotel Babylon, populated by unusual characters. Slowly, the mystery of Stern unravels as Whittemore explores the tragedy and yearning of one man fighting a battle for the human soul.
Nile Shadows
is the third volume of the Jerusalem Quartet, which begins with Sinai Tapestry and Jerusalem Poker and concludes with Jericho Mosaic.
Este livro está indisponível
673 páginas impressas
Publicação original
2013
Ano da publicação
2013
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Citações

  • Vlad Shvetsfez uma citaçãohá 5 anos
    penchant for order and proper hygiene
  • Vlad Shvetsfez uma citaçãohá 5 anos
    we ought to read only the kinds of books that wound and stab us …We need the books that affect us like a disaster, that grieve us deeply like the death of someone we loved more than ourselves, like being banished into forests far from everyone, like a suicide. A book must be the axe for the frozen sea inside us
  • Vlad Shvetsfez uma citaçãohá 5 anos
    Great fiction is hard to sell. What happens to a person who reads a book—if it’s any good—is a profoundly private and irrational process, and the more distinctive the novel, the more private and irrational the process. That’s where the trouble with publishing begins.
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