By Mats Ahlstedt
En dressyrdomare från Göteborg skjuts until döds below en ryttartävling i Skåne. Den unge nynazisten som misstänks ha utfört dådet skadas svårt i en älgolycka när han flyr från mordplatsen. När han avlider lower than mystiska omständigheter och ytterligare två män mördas i snabb följd i Göteborg ställs spaningsledaren Sören Högström inför något som aldrig tidigare inträffat i staden. Har guy med en seriemördare att göra? Vem står i så fall näst på tur?
Under tiden som jakten på mördaren pågår får Sören Högström en manhattan kollega, den unga kriminalinspektören Fatima Wallinder, född i Somalia, som gör starkt intryck på honom.
Men det är inte bara den unga vackra Fatima som hotar hans själsliv. Kommer mördaren att slå until eventually även mot hans egen familj? Katastrofen närmar sig utan att han anar det.
Dödsängeln är den första fristående delen i serien om Sören Högström och Fatima Wallinder vid länskriminalen i Göteborg, nu i en big apple reviderad utgåva
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Additional resources for Dödsängeln
According to Omar Calabrese, the suspension or annulment of categories is the de‹ning characteristic of modern teratology. As he argues in NeoBaroque: A Sign of the Times (1992), “there is a speci‹c character to modern 32. Findlen explains that sixteenth- and seventeenth-century philosophers followed an increasingly eclectic approach, which was largely informed by the Aristotelian conception of nature (albeit modi‹ed within humanist and Counter-Reformation contexts) and also by the work of Pliny and other Greek and Roman philosophers.
Thus the interplay of rumor and performance constitutes a crucial dynamic of baroque publicity” (180). 25. 26 On the contrary, ritual practices are still at the heart of our experience of the world, from religious and secular celebrations, to displays of ethnic and national pride, to our choice of dress codes and body accessories. The (post)modern pressure to assert our uniqueness, while constantly shifting between idiosyncratic modes of behavior, dress codes, and hobbies, is fundamentally ritualistic in nature.
With regard to the political adscription of the marvelous, we must also note that the literary movements associated with “magical realism,” “lo real maravilloso,” and generally speaking “neobaroque poetics” effectively mobilize the aesthetic of the marvelous against the myths of modern reason in order to subvert the ideology of modernization. Drawing from Carpentier’s well-known de‹nition of the marvelous real or “lo real maravilloso,” William Childers has recently coined the term the ambivalent marvelous to distinguish the critical dimension of Cervantine fantasy from the propagandistic use of the marvelous in the literature associated with of‹cial culture in seventeenth-century Spain.