Blood Ambush by Sheila Johnson

By Sheila Johnson

Stuck In A Trap
For Darlene Roberts, a quiet force domestic from paintings became out to be the tip of the line while a stranded motorist flagged her down. once she stopped, Darlene was once forcibly dragged from her motor vehicle and viciously thrown to the floor, certain with cords and tightly gagged. A moment attacker stepped into the scene, a lady in a hood and a masks. . ..

Hunted Like An Animal
In the resultant fight, the woman's masks slipped off, revealing the face of Darlene's husband's ex-wife, Barbara Ann Roberts. Darlene broke away, operating for her existence. The couple pursued her throughout a box until eventually they discovered her hiding within the grass. A shotgun used to be aimed--and fired--point clean. Later, Darlene used to be found floating in a pond. . .

Dead within the Water
Who fired the deadly shot? The sour ex-wife? Or her lover and companion, millionaire neurosurgeon Dr. Robert Schiess III? just one of them will be convicted of homicide during this disturbingly twisted story of fans, cheaters, and killers in a small Alabama city. . .

With sixteen Pages of unveiling images

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Sample text

Although I will have more to say about perversions in general, and fetishization in particular, in later chapters, let me for the present propose a working psychoanalytic definition of the term that has cons iderable currency in film theory and criticism. To Freud, fetishism is the process whereby a male viewer of female sexual difference "masters" the threat of castration posed by this difference through a compensatory in vestment in the fetish. Because the naked female body, when fi rst seen by the li tt le boy, seemed to "lack" a penis, the unconscious desire of the male who has recourse to fe tishism is to disavow this "lack" by putting a fetish in its place.

If my point is that the apparent hard-core literal meaning of these images always means something other or more than what they seem to say, why not show them? The problem is that there is no getting Speaking Sex 33 around the ability of such images, especially if quoted out of cooted, to leap off the page to move viewers and thus to prove too facilely whatever "truths" of sex seem most immediately apparent. Rather than run the risk of having a few quoted images stand out too boldly against the ground of my attempts to read whole texts and the context of a genre, and rather than offer up images that could be read either as or against pornography, 1 forgo the luxury of illustration.

So perfect was the synthesis that a dog in the lecture room barked and endeavored to chase the phantom horses as they galloped across the screen" (Muybridge 1883. app. A). These phantom horses were soon followed by phantom humans, who ran and turned somersaults to even greater admiration. The "frenzy of the visible" made possible by the proliferation of optical machines like Muybridge's zoopraxiscope had thus taken aquantum leap forward. But the crucial point is not so much that the new machine captured life-as its name implies-but rather.

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