Down in the Flood

Salvatore Esposito, Anthony Albanese, and Christopher Cameron?the Columbus Avenue Boys?are somewhat related, as they share lineage back to before the turn of century. Having grown up together in a small community north of New York City, each became successful in his own right. Chris moved to Dallas to be a portfolio manager with a financial firm while Sal and Tony earn their living the hard way?by being enforcers and major earners for the mob.

Tony?s grandfather, Pops Scala, tells them a horrific secret from the Scalamarri family past: twelve members of their family were massacred at the hands of Bugsy Siegel and his ruthless gang from Murder Inc. in 1935. Pops was the sole witness and lone survivor, and he was more than happy to pull the trigger and end Bugsy?s murderous life.

Now fifty years later, Pops convinces the Columbus Avenue Boys they must leave the underworld life for good. Since one cannot just give two weeks? notice to the Gambino crime family, the three blood brothers devise a plan to infiltrate the inner workings of the Mafia in the 1990s to avenge the massacre in their family tree.

Columbus Avenue Boys chronicles the Scalamarri family tree throughout the twentieth century and presents a historical perspective of the life and struggles of an Italian immigrant family as well as that of America?s organized crime.

Nicky Fusco thought he knew right from wrong, living by an oath of friendship & honor with his three best friends. But life took them down separate paths, and the oath was broken. Secrets were kept. Years later they are reunited and the bonds of their friendship are brutally tested, putting them on a collision course set in motion long ago.

Murder Takes Time is not a typical murder mystery or mob story. It is a thriller, a romance, and a coming-of-age story that rips your heart out. By the time you’re done reading it, you just might find yourself rethinking the definition of friendship & honor—even right and wrong.

Three boys, one girl. Friendship, honor, love—betrayal. It ends with murder.

A drifter with no name and no past, driven purely by desire, is convinced by a beautiful woman to murder her husband. A hard-drinking detective down on his luck becomes involved with a gang of criminals in pursuit of a priceless artifact. The stories are at once romantic, pessimistic, filled with anxiety and a sense of alienation, and they define the essence of film noir. Noir emerged as a prominent American film genre in the early 1940s, distinguishable by its use of unusual lighting, sinister plots, mysterious characters, and dark themes. From The Maltese Falcon (1941) to Touch of Evil (1958), films from this classic period reflect an atmosphere of corruption and social decay that attracted such accomplished directors as John Huston, Alfred Hitchcock, Billy Wilder, and Orson Welles. The Philosophy of Film Noir is the first volume to focus exclusively on the philosophical underpinnings of these iconic films. Drawing on the work of diverse thinkers, from the French existentialist Albert Camus to the Frankurt school theorists Max Horkheimer and Theodor Adorno, the volume connects film noir to the philosophical questions of a modern, often nihilistic, world. Opening with an examination of what constitutes noir cinema, the book interprets the philosophical elements consistently present in the films -- themes such as moral ambiguity, reason versus passion, and pessimism. The contributors to the volume also argue that the essence and elements of noir have fundamentally influenced movies outside of the traditional noir period. Neo-noir films such as Pulp Fiction (1994), Fight Club (1999), and Memento (2000) have reintroduced the genre to a contemporary audience. As they assess the concepts present in individual films, the contributors also illuminate and explore the philosophical themes that surface in popular culture. A close examination of one of the most significant artistic movements of the twentieth century, The Philosophy of Film Noir reinvigorates an intellectual discussion at the intersection of popular culture and philosophy.