By J. A. Jance
A cold-blooded assassin lures former newscaster Ali Reynolds right into a chilling net of on-line romance—and doom—in this intriguing mystery from the New York occasions bestselling writer of Hand of Evil
Ex–television journalist Ali Reynolds simply wishes a holiday from pleasure to transform her new domestic. but if the savagely murdered physique of stay-at-home mother Morgan Forester is located, Ali’s contractor Bryan is the best suspect. Bryan swears he has not anything to do along with his wife’s murder—but because the research progresses, Ali appears the one one that believes him. decided to end up Bryan’s innocence, she logs onto singleatheart.com, a relationship web site for "married singles," and unknowingly lands herself at once within the course of a calculating killer. along with her "trademark breathless pace" (Publishers Weekly), New York instances bestselling writer J. A. Jance ramps up the suspense as Ali races to decode the activities of a vengeful computing device hacker . . . ahead of he makes use of his depraved site to discover her.
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Extra info for Cruel Intent
The male body has traditionally been seen as one of action in opposition to that of passive femininity; masculinity in motion, therefore, has a different meaning from masculinity shown at rest or in a state of passivity. However, the male body, whether in motion or at rest, is problematic because of the contradiction between the vulnerable passivity implied by being in a position to be looked at as the site of spectacle on the screen and the dominance that the male is expected to exhibit. Feminist critics and critics of masculinity in the early 1980s argued that the male body deflects the gaze while the female body is presented for the male gaze.
The tradition of toughness is exhibited through the body, but more importantly it is seen as possible to acquire toughness—an internal quality—through the remodeling of the body—an external one. According to Wilkinson, this attempt to acquire toughness was evident in the exercise and dieting boom of recent decades, but in the 1940s and 1950s toughness was more pronounced and demonstrated through styles of walking (such as strutting) and through acts like cigar-chomping, jaw-working, and squinting while smoking (11).
As Studlar argues in relation to the popularity of Tom Cruise, we might assume that mainstream cinema must “delimit or disavow the dangerous multiplicity of desire (across genders and sexualities) set into circulation by an attention to masculinity as an erotically marked object of attention” and, yet, we cannot ignore the commercial need for mainstream cinema to exploit the star’s appeal to the broadest audience base possible, which includes an appeal to both genders (“Cruise-ing” 173). The exposure of the bodies of action stars like Schwarzenegger, Stallone, Gibson, and Willis offers a multiplicity of pleasures to different members of the audience—an appeal that can be an erotic one to desire or an ideal to imitate.