By Rebecca Cantrell
Journalist Hannah Vogel returns in A video game of Lies through award-winning writer Rebecca Cantrell
In guidance for the 1936 Berlin Olympics, the Nazis have rid the streets of anti-Semitic fabric and different propaganda, and current a peace-seeking face to the realm. Journalist and part-time secret agent for the British, Hannah Vogel, shudders to consider what lies lower than the transitority coat of gloss.
Posing as trip reporter Adelheid Zinsli and lover of SS officer Lars Lang, Hannah has been amassing Nazi secrets and techniques from Lang and smuggling them again to Switzerland. sought after through the SS, her shuttle out and in of Germany has consistently been fraught with chance, yet this journey is mainly treacherous.
Surrounded by means of former colleagues who may well establish her, Hannah attempts to maintain a low profile whereas reporting at the video games as Adelheid. Her dating with Lang will get extra complex as he sinks into alcoholism; the whispers she hears approximately his paintings within the SS supply her chills. Whose part is he on?
Hannah consents to satisfy her mentor, Peter Weill, on the Stadium, yet sooner than he can show info that might divulge the Nazis, he dies in entrance of her. Hannah suspects poison.
Hannah needs to notice who killed Weill and get his mystery package deal in a foreign country prior to the Olympics finish and the Nazis tighten their noose…and sooner than her actual id is printed. And her associate could be the very one approximately to
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Additional info for A Game of Lies (Hannah Vogel, Book 3)
Reproduced from the collections of the Latin American Library, Tulane University. that conveys emotions, sensory details, and mood, more than any practical information about the technology being described. How are we to make sense of this stylized, anti-information approach to writing about technological emblems of modernity, an approach which goes against the trend toward hard news in newspapers of the time? During a moment when rationality (more efficient machinery, faster transportation, more orderly streets, clearer boundaries within public spaces, and so forth) was privileged in Latin America, literary critic Julio Ramos posits that the stylized newspaper chronicle asserted art’s autonomy from utilitarianism (116).
The contrast sheds light on the complexity and capriciousness of our emotional reactions and the inevitable limitations of a utopian project. 12 José Geraldo Vieira’s novel Paralelo 16: Brasília ‘Parallel 16: Brasília’ (1966) uncovers the tension between the promised and the real Brasília by exposing double standards regarding the capital’s democratic ideal. The three texts consider the duality between the symbolic and the real Brasília during the construction of the capital and in the years immediately following its inauguration.
As a consequence of these changes and of the professionalization of journalism, newspapers asked writers for fewer literary contributions and more reporting, copyediting, and interviews (Broca 288; Süssekind 75). João do Rio, and to a lesser extent Lima Barreto, adapted to these changes through an innovative use of the crônica and the folhetim in which they reported on the immediate present of their city in an insistently creative way. In the midst of these transformations of newspaper culture, Lima Barreto criticized the way that their desire for spectacle, sensation, and ornamentation drove carioca journalists toward inaccuracy and unethical practices.