By Ariana Franklin

A classy urban scarred via warfare. . . . An jap émigré with scars and secrets and techniques of her personal. . . . a tender girl claiming to be a Russian grand duchess. . . . A brazen killer, as vicious as he's smart. . . . A detective pushed through decency and the need for justice.

. . . A nightmare political stream progressively gaining energy. . . .

This is 1922 Berlin.

One of the stricken city's becoming variety of refugees, Esther Solomonova survives by way of operating as secretary to the captivating, unscrupulous cabaret proprietor "Prince" Nick, and she's being drawn opposed to her will into his scheme to cross a tender asylum sufferer off as Anastasia, the final surviving inheritor to the murdered czar of all Russia. yet their came upon "princess," Anna Anderson, fears that she's being hunted--and this can grow to be greater than paranoia whilst blameless humans throughout her start to die.

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Extra resources for City of Shadows

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B6v). ” (B6v). Fault / no fault / fault: the need simultaneously to make the Jews guilty of their own reprobation and to attribute reprobation and election to the unsearchable hand of almighty God rather than to human merit leads Foxe in an apparently endless circle. And it leads as well to what comes to seem even to Foxe like a potentially infinite regress of questions. For positing unbelief as the Jewish fault that may—or may not—have led to their reprobation merely moves the conundrum of election one step backward, to the prior question of why God chooses some to believe and others to disbelieve.

Sir Peter provides a kind of compacted history of recent English conversions, and the instability of identity that affects him seems to affect all England as well, for his England is no more categorically secure than the “Turkey” Mercadorus would convert to. Although the play ends with Lucre and the London ladies she has contaminated condemned to jail, both her domestic and her foreign servants are still thriving in London. Homegrown Fraud is “in the streetes walking in a Citizens gowne” (l. 1853), but even Usury and Simony are equally at home there: Usury is last seen “at the Exchainge” and Simony “walking in Paules” (ll.

Nonetheless, and despite all the famously Shakespearean complexity of Merchant, in some respects Merchant seems to me to revise Three Ladies in the spirit of Three Lords. 293), from mystified sources; and her Belmont, like the England of Three Lords, is impeccably xenophobic. And if Belmont gives us the image of a purified England, mysteriously untainted by Lucre, Portia manages to reinforce something like a Belmont-style xenophobia even in Venice itself, in effect undoing the categorical instability that plagues Three Ladies: her rescue of Antonio depends crucially not only on the niceties of Venetian law but on her reinstating of the distinctions—between Christian and Jew, citizen and alien—that Venetian law had initially seemed immune to.

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