By Lynda La Plante
Devoted, intuitive and completely obsessive, DCI James Langton is ruthless in his pursuit of a gang of unlawful immigrants, killers of a tender prostitute. while he's horrifically, nearly fatally injured via certainly one of them, it falls upon DI Anna Travis to place her personal profession on carry as she nurses him via his excessive frustration and desperation to deliver his would-be assassin to justice.
Then Anna is assigned to another case, the brutal killing of a quiet, studious lady whose physique was once chanced on via her daughter returning domestic from institution. A mindless assault with out noticeable cause or speedy suspect. till, chillingly, the case turns into without warning associated with Langton's and Anna unearths herself less than comparable danger from those that nearly destroyed his occupation and his lifestyles.
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Additional resources for Clean Cut (Anna Travis, Book 3)
30 If flesh enslaves or corrupts, the implication is that there is something there to be enslaved and corrupted: some part of the self that is not flesh. 31 The Augustinian formula of an ‘inner’ and ‘outer’ man was widely used throughout the Middle Ages to evoke a sense of the self, fractured and polarised by sin. The outer and inner man,Augustine said, are like Adam and Christ. Where one signifies corruptible, fallen humanity, the other holds the promise of man’s 24 S I G H T A N D E M B O D I M E N T I N T H E M I D D L E AG E S renewal in the ‘image and likeness of God’.
And as the embodiment of the flesh, Eve was united in nature and purpose with the serpent. 15 Not just because we are tempted by sensual pleasures as Eve was tempted by the serpent, but because sensuality is a movement. 17 In fact, in The Trinity the serpent provides Augustine with an image of the fall:‘the slippery movement of falling away [from the good] takes possession of the careless little by little . 19 In other words, because bodily sensations are (for the most part) pleasurable, the sensitive soul is drawn towards the source of those sensations.
22 In this sense, the ‘fall’ of vision describes the slippery—one might say serpentine—descent of the body and soul, from their original condition of complementarity to their present state of fleshly discord. The fleshly eye, then, is the eye held in thrall by earthly delights, and moved by sensual desires.