Shaun Hutson

#2

Gripping and surprising, Nemesis is a nail-biting thriller from one of the biggest stars in crime fiction.Grainy closed-circuit television footage shows a man walking into an Oslo bank and putting a gun to a cashier's head. He tells the young woman to count to twenty-five. When the robber doesn't get his money in time, the cashier is executed, and two million Norwegian kroner disappear without a trace. Police Detective Harry Hole is assigned to the case.While Hole's girlfriend is away in Russia, an old flame decides to get in touch. Former girlfriend and struggling artist Anna Bethsen invites Hole to dinner, and he can't resist a visit. But the evening ends in an all too familiar way as Hole awakens with a thundering headache, a missing cell phone, and no memory of the past twelve hours. That same morning, Anna is found shot dead in her bed. Hole begins to receive threatening e-mails. Is someone trying to frame him for this unexplained death? Meanwhile, the bank robberies continue with unparalleled savagery. As the death toll continues to mount, Hole becomes a prime suspect in a criminal investigation led by his longtime adversary Tom Waaler and Waaler's vigilante police force. Racing from the cool, autumnal streets of Oslo to the steaming villages of Brazil, Hole is determined to absolve himself of suspicion by uncovering all the information needed to crack both cases. But the ever-threatening Waaler is not finished with his old archenemy quite yet.

#3

Cast shadows have been exploited in art to enhance the impression of the surrounding light as well as that of the solidity of the casting objects. They can contribute to the mood of the scene, and can reveal the presence of features outside the space represented, but as Professor Gombrich points out, they appear only sporadicaly and have been more frequently ignored or suppressed in Western art. Gombrich touches on the ambiguous nature of shadows in myth, legend, and philosophy, and briefly analyses the factors governing their shape: the location and form of the light source, the shape of the illuminated object and that of the surface on which the shadow falls, and the position of the viewer. Early Renaissance painters such as Masaccio and Campin, intent on a faithful rendering of visual reality, did incorporate shadows in their art, but artists of Leonardo's time largely avoided painting them, and it was not until early in the seventeenth century that painters - particualrly Caravaggio and Rembrandt - were again interested in the effects of shadows. In subsequent centuries artists of the Romantic, Impressionist and Surrealist movements exploited the device of the cast shadow to enhance the realism or drama of their images.