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A Deadly Shade of Gold: A Travis McGee Novel, by John D. MacDonald
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From a beloved master of crime fiction, A Deadly Shade of Gold is one of many classic novels featuring Travis McGee, the hard-boiled detective who lives on a houseboat.
When Travis McGee picks up the phone and hears a voice from his past, he can’t help it: He has to meddle. Especially when he has the chance to reunite Sam Taggart, a reckless, restless man like himself, with the woman who’s still waiting for him. But what begins as a simple matchmaking scheme soon becomes a bloody chase that takes McGee to Mexico, a beautiful country from which he hopes to return alive.
“John D. MacDonald was the great entertainer of our age, and a mesmerizing storyteller.”—Stephen King
Deception. Betrayal. Heartbreak. When Sam left his girlfriend, Nora, and vanished from Fort Lauderdale, no one was surprised. But when he shows up three years later lying in a pool of his own blood, people start to ask questions. And his old friend Travis McGee is left to find answers.
But all he has to go on are a gold Aztec idol and a very angry ex-girlfriend. Is that enough to find his friend’s killer? And when the truth is as terrifying as this, does he really want answers after all?
Features a new Introduction by Lee Child
- Sales Rank: #71156 in Books
- Brand: MacDonald, John D.
- Published on: 2013-03-12
- Released on: 2013-03-12
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .94" w x 5.19" l, .63 pounds
- Binding: Paperback
- 416 pages
From Library Journal
MacDonald, whose 21 Travis McGee novels represent arguably the best U.S. mystery series of the past 50 years, died in 1986, leaving behind a legion of fans. Sadly, Travis McGee seems lost amid today's hip, violent, and politically correct private eyes and series detectives, so much so that most of today's younger mystery readers may never experience this National Book Award-winning series. Yet audio producers seem committed to keeping the series alive for a new generation of readers and audiobook fans, as this example proves. Bright Orange for the Shroud tells of a dangerous confidence scheme that traps one of McGee's friends. Soon, McGee infiltrates the group and takes on its sexy operative, with explosive results. In A Deadly Shade of Gold, McGee comes into possession of an evil-looking, solid gold Aztec icon that leads to a perilous fortune. Reader Darren McGavin, who narrates the entire series for Random Audio, employs a world-weary, laid-back voice that is perfect for the enigmatic McGee. Recommended wherever good mysteries circulate. Random Audio offers the entire Travis McGee line in abridged format; libraries seeking unabridged versions should look to Books on TapeR.?Mark Annichiarico, "Library Journal"
Copyright 1997 Reed Business Information, Inc.
From Booklist
It tends to be later in the Travis McGee series when the tales turn significantly darker (say, after The Tan and Sandy Silence), but this early installment, number five, displays a strong hint of what is to come. It starts, as so many of the 21 novels do, with the appearance, on the deck of McGee’s houseboat, The Busted Flush, of a friend in trouble. This time it’s Sam Taggart, a fellow adventurer committed to living by his wits; unfortunately, Sam’s wits aren’t quite as quick as Travis’, and he has landed in a serious jam south of the border. But if he can just peddle the Aztec idol he has lifted from serious bad guys, Sam should be able to start a new life in Ft. Lauderdale with Nora, the girl he foolishly dumped before leaving for Mexico. There are no new lives to be had. McGee and Nora find Sam dead on the floor of a sleazy motel, his throat professionally slashed from ear to ear. The two of them set off for Mexico to extract several pounds of flesh and, hopefully, salvage the profit that would have been Sam’s from the sale of the idol. So far, so good. We’re on familiar McGee ground here: the salvage operation is afoot; the wounded dove, Nora, is ensconced on a beach in Mexico, prime for some psychic and sexual healing, which Trav delivers with his usual aplomb. And, of course, MacDonald has ample opportunity to rail against the absurdities of American tourists on display in Mexico. But then the wind changes. The bad guys are hard to find, being both too numerous and too ambiguous; the wrong bodies start to pile up; and Travis begins to feel the most unlikely of emotions: intimations of vulnerability. And, finally, a very curious thing happens: our beach-bum hero transforms into the novel’s real wounded dove, a teeth-chattering, head-hanging wreck of a man, in desperate need of rejuvenation. The Aztec idol plot gets a little messy, requiring too much explication to sort out who did what and stole what and from whom, but for committed series readers, this novel offers the first good look at just how shrewd MacDonald can be. Through four books, he has eased his readers into letting the comforts of formula fiction roll over us like a gentle wave: we’re grown accustomed to the rhythms of watching McGee work and play; we’ve chuckled at MacDonald’s sociopolitical commentary; and, best of all, we’ve found little bits of our fantasy selves in Travis’ nonconformity and his unshakable savviness. Now, suddenly, the wave is no longer gentle, and we’re tossed onto the rocks of ugly reality. We bounce free, of course, just as McGee’s teeth eventually stop chattering, but the warning MacDonald has issued is clear: get comfortable, that’s what formula fiction is for, but don’t take comfort for granted. --Bill Ott
Review
Praise for John D. MacDonald and the Travis McGee novels
“The great entertainer of our age, and a mesmerizing storyteller.”—Stephen King
“My favorite novelist of all time . . . All I ever wanted was to touch readers as powerfully as John D. MacDonald touched me. No price could be placed on the enormous pleasure that his books have given me. He captured the mood and the spirit of his times more accurately, more hauntingly, than any ‘literature’ writer—yet managed always to tell a thunderingly good, intensely suspenseful tale.”—Dean Koontz
“To diggers a thousand years from now, the works of John D. MacDonald would be a treasure on the order of the tomb of Tutankhamen.”—Kurt Vonnegut
“A master storyteller, a masterful suspense writer . . . John D. MacDonald is a shining example for all of us in the field. Talk about the best.”—Mary Higgins Clark
“A dominant influence on writers crafting the continuing series character . . . I envy the generation of readers just discovering Travis McGee, and count myself among the many readers savoring his adventures again.”—Sue Grafton
“One of the great sagas in American fiction.”—Robert B. Parker
“Most readers loved MacDonald’s work because he told a rip-roaring yarn. I loved it because he was the first modern writer to nail Florida dead-center, to capture all its languid sleaze, racy sense of promise, and breath-grabbing beauty.”—Carl Hiaasen
“The consummate pro, a master storyteller and witty observer . . . John D. MacDonald created a staggering quantity of wonderful books, each rich with characterization, suspense, and an almost intoxicating sense of place. The Travis McGee novels are among the finest works of fiction ever penned by an American author and they retain a remarkable sense of freshness.”—Jonathan Kellerman
“What a joy that these timeless and treasured novels are available again.”—Ed McBain
“Travis McGee is the last of the great knights-errant: honorable, sensual, skillful, and tough. I can’t think of anyone who has replaced him. I can’t think of anyone who would dare.”—Donald Westlake
“There’s only one thing as good as reading a John D. MacDonald novel: reading it again. A writer way ahead of his time, his Travis McGee books are as entertaining, insightful, and suspenseful today as the moment I first read them. He is the all-time master of the American mystery novel.”—John Saul
Most helpful customer reviews
35 of 37 people found the following review helpful.
THE Definitive Travis McGee Novel
By Homunculus
It's curious to read some of the other opinions written about this incredible yarn. Obviously most other reviewers enjoy MacDonald and the McGee series. But the concerns posited by others represent some of the nuance and fabric of MacDonald's genius which yield his works of fiction, and the McGee series in particular, for what they are: GREAT LITERATURE. I believe MacDonald is the best novelist of the twentieth century.
The Deep Blue Goodbye, the first of the series, is typical of the first efforts of genius. The next books leading up to Gold are shorter stories with less convoluted, though quite satisfying story lines. Gold is my favorite (along with The Green Ripper for totally different reasons) because of its detailed and deeply diverse story line.
As in the entire McGee series Trav is narrating the adventure from his first person perspective with wit, self-certain insight and all-knowing and sometimes humble introspection. Yet overlaying his views is his basic flaw; the 60's existential man's man. Travis believes in himself, his abilities and the basic correctness of his philosophy for living. He lives and dies by them and they serve him well personally, though the dying always rubs off on those around him.
In one book he states he is 'wary of all earnestness'. That is a theme of his early and mid years. Later in the series he becomes more open to examinng his shortcomings, his mortality and wonders about his own self-serving motives in a way that suggests change is ultimately on the way, if he lives that long. His buddy Meyer is instrumental in moving Trav toward a more realistic and longer view of living and reality. The story of Travis ends aptly in the Lonely Silver Rain with real change unavoidable and much life still looming ahead. Of course at this point we lost the genius that was MacDonald in his early death, and left the real McGee fans to speculate about Travis' future.
But Gold is the story where Travis peaks in his physical strength and intellectual ingenuity. He is bullet proof and invisible when necessary. He is the great savior of shattered women, and deftly justifies himself in that role (as he does throghout the series, and is never adequately called on that self-delusion except by Jean in Silver Rain). In Gold the woman in need of saving is Nora. Of course like all the true "keepers", (which are legion in Travis' life), her lifespan is shortened tragically though Travis justifies his inocence in her fluke death.
As usual Travis makes his recovery of the treasure in an incomplete way at a cost that leaves him pondering the worth of the project. But also as usual his lack of insight into things other than the tangibilities of having life his own way cause depression and regret but no sense of repentance, loving more the dance to the drum-beat of his personal demon's rhythm. His belief only in the here and now and his professed agnosticisms help him justify the real mess his lifestyle and actions inflict upon him and his numerous true loves one book at a time. The result is periodic self-medication for his bouts with depression in alcohol overuse and intentional whoredoggery; the ying and yang of his beach bum life choice.
One of the fascinating aspects of Gold and the early books is the dialog in the vernacular of the era of the early 60s. MacDonald did us a great service in preserving the way people really talked in those days. Just as Shakespeare wrote in the language of his time, so did MacDonald. This is a strength of the series, seeing the changing American zeitgeist as Trav adventures through the early 60s to mid 80s.
One last interesting point of Gold (and there are many more; a lengthy dissertation could be written on the joys and convolutions of this brilliant novel) is the perspective we get of Travis' flawed yet upflappable morality. In the prologue chapters of Gold we learn that Sam and Nora were the real deal; for Travis a picture of what a life-mate connection should be. Trav's honey at the time was one Nikki, with whom he tried to immitate the passion and potential permanence that he saw in Sam and Nora's relationship. Later in Mexico Trav finds that he is heading the same way with Nora, and indeed she was a keeper. But Travis' fatal flaw (always fatal to the keepers) rears it's ugly head. Of course to Travis it is just the on-going poker game of life, playing the hands he is dealt and sometimes overbetting a hand he should have folded. But to Trav life just never stops being poker. And as in all games of chance, eventually the good run runs out.
Read this book. I do about once a year. I never tire of the brilliant mystery, the heart-racing action, the incredible characters, the just-like-you-are-there sense of place. Gold is the perfect vacation read at the beach or the book to study and understand the philosophy that lead us to the culture clash we see even today in 2004.
17 of 18 people found the following review helpful.
MacDonald was a master & McGee was his masterpiece.
By David J. Gannon
McDonald was a master & McGee was his masterpiece.
I was cleaning out some bookshelves not long ago and came across this book. It's been years since I'd read a Travis McGee novel so I decided to reread this one. That proved to be one of the best decisions I've made so far this year reading-wise.
Back in the 1960's John D. MacDonald wrote 21 Travis McGee books (along with a large number of stand alone books as well). They were among the most successful thriller/suspense books of the times and remain, in my opinion, one of the very best thriller suspense series of all time.
MacDonald utilized a very Hemingway-esque writing style-terse, to the point, very abrasive and macho. His characters were first rate across the board, whether they be a series regular or a bit player. Even inanimate objects came to e serious characters, as in Travis' car and houseboat. Also the series is easily distinguishable as all McGee novels titles use the name of a color in the title.
The books are dated in the sense that they use language and mannerisms common to the time. This is an observation, not a criticism. They are authentic to their time in every way and therefore are, essentially, timeless.
A Deadly Shade of Gold is a pretty standard McGee thriller. The story involves McGee's dual purpose of finding and avenging the killer's of an old friend who suddenly reappears in South Florida asking McGee for help while trying to recover a hoard of pre-Columbian gold figurines his friend says were stolen from him. The action moves from Florida to Mexico to LA and involves the usual MacDonald elements-exotic locales, unique, dangerous characters, unleavened greed, lots of action, romance and lots of explicit violence.
If you're tired of the run-of-the-mill, politically correct factory produced mysteries that seem to proliferate these days and want an authentic suspense/thriller experience, give Travis McGee a try-you won't be disappointed.
19 of 21 people found the following review helpful.
Extreme McGee
By sweetmolly
"A Deadly Shade of Gold," the 5th in the Travis McGee series is bawdy and brutal; a bloody chase novel taking McGee from Florida to Mexico to LA. MacDonald has a wondrous sense of place and you can feel the sensuous breezes and see the spectacular sunsets he creates for you. There are a few creaky spots: Nora, Travis's love interest, is so `50's lady-like, you expect her to be white gloved and hatted even in the shower; -- all characters are super sun worshippers while the reader uneasily thinks about skin cancer. Be that as it may, it's a fine rousing tale with careful characterizations and Travis's philosophies served up painlessly.
Old buddy Sam Taggart, a three-year missing person, contacts Travis in dire need of his services as a salvage consultant. The deal sounds shady at best as Sam claims he is the rightful owner of 28 crude golden idols dating from pre-Colombian times. The hitch is 27 of the 28 have been stolen from him, and he wants them back. Sam is down on his luck and appears to be on the run. When he took off three years ago without a word, he left the beauteous Nora high and dry. Now he is back to redeem himself. Before Trav can get Sam and Nora together, or even decide whether he wants to accept Sam's offer, Sam is brutally murdered. Nora hires Trav to find the killer, but insists on accompanying him (natch) when the trail leads to Mexico. The action is fierce, retribution is swift and oh-so-well-described, and Trav and Nora find something more in common than Sam.
"A Deadly Shade of Gold" at 434 pages is long for a Travis McGee novel, but moves swiftly. MacDonald takes great care in setting up his locales, which makes for lovely reading. Though Sam exits early, he is with us throughout the book, and gradually an entirely different Sam emerges posthumously. This is handled cleverly by friend's ruminations, and we are allowed to derive our own conclusions. Travis is not yet fully formed; he's still pretty rough around the edges, but this novel sets the course for the future.
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