One True Sentence

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There was nothing waiting for ex-cop Max Mingus when he walked out of Attica Prison after serving hard time for murder—his adored wife died in a car crash while he was locked up. Now Miami's one-time top detective is haunted by an empty house, bad memories . . . and an impossible job offer for obscenely good money. Three years ago, Charlie Carver, the five-year-old son of a powerful Haitian billionaire, vanished. His father is offering Max $15 million to bring the boy back—or, at the very least, to find his body and deliver his abductors.

Max knows he should turn this case down. There's no way the kid is still alive, and pursuing his ghost means plunging headfirst into Haiti, a steaming island hotbed of crime, greed, voodoo, and corruption. And the three detectives who preceded Mingus are all dead . . . or worse. But Max has nothing left to lose—even if his investigation stirs up a murky evil that can swallow a man whole . . . and leads him to the soul-destroying truth about a terrifying local myth, a child-stealing nightmare called "Mr. Clarinet."

A rich and multi-faceted aspect of the Italian Renaissance, the comedy has been largely overlooked as a cultural force during the period. In Renaissance Comedy, editor Donald Beecher corrects this oversight with a collection of eleven comedies representative of the principal styles of writing that define the genre. Proceeding from early, ?erudite? imitations of Plautus and Terence to satires, sentimental plays of the middle years, and later, more experimental works, the development of Italian Renaissance comedy is here dissected in a fascinating and vivid light.

This first of two volumes boasts five of the best-known plays of the period, each with its own historical and critical introduction. Also included is a general introduction by the editor, which discusses the features of Italian Renaissance comedy, as well as examines the stage histories of the plays and what little is known, in many cases, of the circumstances surrounding their original performances. The introduction raises questions concerning the nature of audiences, the festival occasions during which the plays were performed, and the academies which sponsored many of their creations.

As a much-needed reappraisal of these comedic plays, Renaissance Comedy is an invaluable look at the performance history of the Renaissance and Italian culture in general.

One summer day in 1897, a young singer, Enrico Caruso, arrives at the home of the Giachetti family. He has come to Livorno to sing on the summer stage with Ada Giachetti, a famous and beautiful soprano. Ada's mother offers him a spare room, and before Ada herself has a chance to meet the unknown tenor, her younger sister, Rina, arrives home from the market and falls fatefully in love.

With the help of singing lessons from Ada, Caruso wins the leading role in Puccini's new opera La Bohème. Although Caruso loves Rina, it is Ada he adores, and they soon become lovers. Heartbroken, Rina becomes an opera singer too, hoping to take her sister's place. For decades, the two sisters are locked in a struggle to be the star on Caruso's stage and in his bed, while Caruso's voice grows more and more unimaginably beautiful.