A Francesca Fruscella Mystery
Publication Year: 2013
In his newest novel, Jeffrey DeShell draws on the musical innovations of Arnold Schoenberg—by turns traditional, serial, and atonal—to inform his grammar and language. Moving progressively through specific Schoenberg compositions, DeShell complicates the surface of his text into lyrical derivatives, all the while drawing us into a murder mystery like no other as Detective Francisca Fruscella pursues both the killer and her own complicated personal history.
By turns rapturous, rigorous, and gripping, Expectation is a thriller of another kind—and a bold venture to the limits of the mystery genre and language itself.
Published by: The University of Alabama Press
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Title Page, Copyright, Dedication, Quote
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I would like to thank Robert Steiner, Lynne Tillman, Marco Breuer and Ted Pelton for their help and support throughout. Special thanks go to Lisa Harrington, who explained a lot, and the students in my various graduate Modernism courses at the University of Colorado at Boulder. ...
Chapter 1. Fünf Klavierstücke op. 23
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...solve: love, often wonderfully sweet, can leave horrific stains, tion: it’s the key signature to the piece. Motive is secondary, ...
Chapter 2. Vier Lieder op. 2
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...sorry for her. I hadn’t felt anything while I was there, save that a state senator’s wife got herself kilt. An ambitious state certain if the victim still exhibited vitals and seeing that the coroner’s office. The victim’s hands and her feet were tied to my investigations into the victim’s previous visits. Detective ...
Chapter 3. Fünf Klavierstücke op. 23
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The body and surrounding site arranged to indicate suicide. Pistol gripped then mouthed, brains splattered now coagulating. Perfect. Just perfect. No sign of exterior struggle. No sign of other violence. The note on conspicuous laptop paraded as corroborating evidence. ...
Chapter 4. Verklärte Nacht op. 4
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...ing to my office to give Mr. Felix Padilla, Mr. Bratsche’s pa-role officer, a telephone call. I’d very much like Mr. Padilla I’m saying? One, Sixto ain’t the type to kill himself. He was in Cañon, Max, for four years, and he didn’t get down on hisself: he was always saying, ‘I got some life to live, I got some things ...
Chapter 5. Fünf Klavierstücke op. 23
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...beneath shirt, tie. The site felt staged, theatrical. Completely ...
Chapter 6. Erwartung Monodram op. 17
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...slightly right and to repeat the process a little easier because Sarabande of Bach’s French Suite #6 in E major Angela Hewitt. listening chair to sit and to pour. To not yet think to not yet death. A meaningful stillness a quiet a rest fortissimo. To hear talking no drill the shadows alive. To fall back in bed after to ...
Chapter 7. Fünf Klavierstücke op. 23
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...ing. The thickish wrists cut deeply, splatters on leather seats, smokes always outside at 5:00. She saw the victim’s vehicle.”...
Chapter 8. Begleitmusik zu einer Lichtspielszene (Drohende Gefahr, Angst, Katastrophe) op. 34
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...possibly to imagine. Frasca expensive, yes, but disgracefully.”the underneath freely associating accidents vital a lot of. But arrest immediately, against the captain’s orders, would bring lance discs Fed-exed likely by the sexy secretary, to establish ...
Chapter 9. Fünf Klavierstücke op. 23
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...sired truthfully. Role Benderson’s in. His killing initially. ...
Chapter 10. Phantasy for Violin with Piano Accompaniment op. 47
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...if disjointedly I speak, scattered killer, fuck, during, even if Shit. For rather than silently, you need talkative killer, lady, conspired, avaricious killers. Jesus. Considering, if greedily, Sixto, detective, to although initially he was given five grand, cide. Okay. Inside after alone he shot, vivant tableau. Voilà. ...
Note to Readers
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This writing was based on the attempt to translate musical ideas from the work of Arnold Schoenberg. In the more serial pieces, where he used tones, I used parts of speech. Stretti, inversions and other techniques were sometime employed. ...
Page Count: 115
Publication Year: 2013
Series Editor Byline: John Smith, Will Wordsworth