MIDNIGHT IN SAVANNAH…
It's a city of beauty, history…hauntings. And one of the most haunted places in Savannah is a tavern called The Dragonslayer, built in the 1750s. The current owner, Gus Anderson, is a descendant of the original innkeeper and his pirate brother, Blue.
Gus summons his granddaughter, Abigail, home from Virginia, where she's studying at the FBI Academy. When she arrives, she's devastated to find him dead. Murdered. But Abby soon learns that Gus isn't the only one to meet a brutal and untimely end; there've been at least two other victims. Then Captain Blue Anderson starts making ghostly appearances, and the FBI's paranormal investigation unit, the Krewe of Hunters, sends in Agent Malachi Gordon.
Abby and Malachi have a similar ability to connect with the dead…and a similar stubbornness. Sparks immediately begin to fly—sparks of attraction and discord. But as the death toll rises, they have to trust each other or they, too, might find themselves among the dead haunting old Savannah!
Part autobiography, part statement of artistic principles, the five essays collected here cover Elytis's journey to poetry, from discovering the works of Sappho at age 16 to winning the Nobel Prize in 1979. Born in Crete in 1911, at 18 Elytis heard ``a secret voice'' that led him to abandon everything for his art. As a student in the 1930s he was totally absorbed in the Surrealists with luard, Breton and Lorca offering new perspectives to a young man already influenced by Freud, Baudelaire and Novalis. He pays tribute to these and other writers in the essay ``For Good Measure,'' which also honors Picasso for his insistence on turning upside down one's view of the natural world. In the most interesting section of the book, ``Chronicle of a Decade,'' Elytis recounts the time spent seeking out writers and periodicals that would be sympathetic to newfound passion for a lyrical and mystical vision of life. Elytis's credo is set forth in the title of the last essay-``Art-Luck-Risk.'' If, through the decades, Elytis did take political and artistic risks, this clear articulation shows that his art was not guided by luck or risk alone but by a real belief in modernism.
I'm rather disappointed with the quality of writing.