The Cry of the Halidon
Ryder, Jonathan (Pseudonym Of Robert Ludlum. )
Langue : anglais
Edité par Delacorte Press, E-042, 1974
- Livre relié
- Occasion

Vendeur : Last Exit Books, Charlottesville, VA, Etats-UnisLast Exit Books
Vendeur AbeBooks depuis 6 décembre 2005
Etat: Occasion - Assez bon
EUR 26,90
Quantité disponible : 1 disponible(s)
Ajouter au panierItem description from seller
Hardcover. 8vo. Delacorte Press, New York. 1974. 376 pgs. First Edition/First Printing. DJ has light shelf-wear present to the DJ extremities. Bound in green cloth with titles present to the spine. Boards have light wear present to the extremities of the boards. No ownership marks present. Text is clean and free of marks. Binding tight and solid. Alex McAuliff has received an offer he can't refuse: two million dollars for a geological survey of Jamaica's dark interior. All Dunstone, Limited, requires is his time, his expertise, and his absolute secrecy. No oneâ not even McAuliff's handpicked teamâ can know of Dunstone's involvement. But British Intelligence is aware of the deal and they've let Alex in on a secret of their own: the last survey team Dunstone dispatched to Jamaica vanished without a trace. Now it's too late to turn back. Alex already knows about Dunstone.which means he knows too much. From the moment he lands in Jamaica, Alex is a marked man. But who wants him dead? Dunstone? A rival company? Or British Intelligence? Here in an island paradise where even a beautiful woman might be a spy, every move could be his last, and his only clue to survival is a single mysterious word: Halidon.; 8vo 8" - 9" tall; 376 pages. …
N° de réf. du vendeur 74623
- Titre
- The Cry of the Halidon
- Auteur
- Ryder, Jonathan (Pseudonym Of Robert Ludlum. )
- Éditeur
- Delacorte Press, E-042
- Année de publication
- 1974
- État de l'article
- Very Good
- Reliure
- Hardcover
- Langue
- anglais
- ISBN à 10 chiffres
- 0440021200
- ISBN à 13 chiffres
- 9780440021209
« Synopsis » peut appartenir à une autre édition de cet ouvrage.
Extrait
The tall, light-haired American in the unbuttoned Burberry trench coat walked out the Strand entrance of the Savoy Hotel. He stopped for an instant and looked up at the English sky between the buildings in the court. It was a perfectly normal thing to do--to observe the sky, to check the elements after emerging from shelter--but this man did not give the normally cursory glance and form a judgment based primarily on the chill factor.
He looked.
Any geologist who made his living developing geophysical surveys for governments, companies, and foundations knew that the weather was income; it connoted progress or delay.
Habit.
His clear gray eyes were deeply set beneath wide eyebrows, darker than the light brown hair that fell with irritating regularity over his forehead. His face was the color of a man's exposed to the weather, the tone permanently stained by the sun, but not burned. The lines beside and below his eyes seemed stamped more from his work than from age, again a face in constant conflict with the elements. The cheekbones were high, the mouth full, the jaw casually slack, for there was a softness also about the man...in abstract contrast to the hard, professional look.
This softness, too, was in his eyes. Not weak, but inquisitive; the eyes of a man who probed--perhaps because he had not probed sufficiently in the past.
Things...things...had happened to this man.
The instant of observation over, he greeted the uniformed doorman with a smile and a brief shake of his head, indicating a negative.
"No taxi, Mr. McAuliff?"
"Thanks, no, Jack. I'll walk."
"A bit nippy, sir."
"It's refreshing--only going a few blocks."
The doorman tipped his cap and turned his attention to an incoming Jaguar sedan. Alexander McAuliff continued down the Savoy Court, past the theater and the American Express office to the Strand. He crossed the pavement and entered the flow of human traffic heading north toward Waterloo Bridge. He buttoned his raincoat, pulling the lapels up to ward off London's February chill.
It was nearly one o'clock; he was to be at the Waterloo intersection by one. He would make it with only minutes to spare.
He had agreed to meet the Dunstone company man this way, but he hoped his tone of voice had conveyed his annoyance. He had been perfectly willing to take a taxi, or rent a car, or hire a chauffeur, if any or all were necessary, but if Dunstone was sending an automobile for him, why not send it to the Savoy? It wasn't that he minded the walk; he just hated to meet people in automobiles in the middle of congested streets. It was a goddamn nuisance.
The Dunstone man had had a short, succinct explanation that was, for the Dunstone man, the only reason necessary--for all things: "Mr. Julian Warfield prefers it this way."
He spotted the automobile immediately. It had to be Dunstone's--and/or Warfield's. A St. James Rolls-Royce, its glistening black, hand-tooled body breaking space majestically, anachronistically, among the petrol-conscious Austins, MGs, and European imports. He waited on the curb, ten feet from the crosswalk onto the bridge. He would not gesture or acknowledge the slowly approaching Rolls. He waited until the car stopped directly in front of him, a chauffeur driving, the rear window open.
"Mr. McAuliff?" said the eager, young-old face in the frame.
"Mr. Warfield?" asked McAuliff, knowing that this fiftyish, precise-looking executive was not.
"Good heavens, no. The name's Preston. Do hop in; I think we're holding up the line."
"Yes, you are." Alex got into the backseat as Preston moved over. The Englishman extended his hand.
"It's a pleasure. I'm the one you've been talking to on the telephone."
"Yes...Mr. Preston."
"I'm really very sorry for the inconvenience, meeting like this. Old Julian has his quirks, I'll grant you that."
McAuliff decided he might have misjudged the Dunstone man. "It was a little confusing, that's all. If the object was precaution--for what reason I can't imagine he picked a hell of a car to send."
Preston laughed. "True. But then, I've learned over the years that Warfield, like God, moves in mysterious ways that basically are quite logical. He's really all right. You're having lunch with him, you know."
"Fine. Where?"
"Belgravia."
"Aren't we going the wrong way?"
"Julian and God--basically logical, chap."
The St. James Rolls crossed Waterloo, proceeded south to the Cut, turned left until Blackfriars Road, then left again, over Blackfriars Bridge and north into Holborn. It was a confusing route.
Ten minutes later the car pulled up to the entrance canopy of a white stone building with a brass plate to the right of the glass double doors that read SHAFTESBURY ARMS. The doorman pulled at the handle and spoke jovially.
"Good afternoon, Mr. Preston."
"Good afternoon, Ralph."
McAuliff followed Preston into the building, to a bank of three elevators in the well-appointed hallway. "Is this Warfield's place?" he asked, more to pass the moment than to inquire.
"No, actually. It's mine. Although I won't be joining you for lunch. However, I trust Cook implicitly; you'll be well taken care of."
"I won't try to follow that. 'Julian and God.' "
Preston smiled noncommittally as the elevator door opened.
« A propos de ce titre » peut appartenir à une autre édition de cet ouvrage.
Last Exit Books
Charlottesville, VA, Etats-Unis
Vendeur AbeBooks depuis 6 décembre 2005
Frais d'expédition à l'intérieur de ce pays : Etats-Unis
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I have been selling books for more than 20 years. I am a specialist in out of print and rare academic titles, art, history, military history and what I like to loosely describe as "Old and Interesting." Here is a helpful list of book terms that I use: Terms for Describing Condition These terms apply to books, dust jackets and magazines. As New is when the book is in the same immaculate condition in which it was published. There are no defects and the dust jacket, if issued with one, is perfect. Fine approaches the condition of "As New," but without being crisp. There may be minor defects, which are noted. Very Good describes a book that does show some small signs of wear but no tears on either binding or paper. Any defects are noted. Good describes the average used and worn book that has all pages or leaves present. All defects are noted. Fair is a well-worn book that has complete text pages but may lack endpapers, half title page, etc. All defects are noted. Poor describes a book that is sufficiently worn so that its only merit is as a reading copy. This book may be soiled, scuffed, stained or spotted and may have loose joints, hinges, pages, etc. All defects are noted. Ex-library books are always noted as such regardless of condition. Book Club Editions (BCE) are always noted as such regardless of condition. Boards are the actual hardcover material of the cover, front and back. Bookplate is usually a square illustrated sticker on which an owner writes his or her name, or on which the author has signed his or her name. Bumped refers to the bent or rounded corners of the boards. Browning or tanning refers to brown or tan looking pages or page edges that appear in some older books. Chip is a tiny piece missing from the edge of the dust jacket. Closed tear is a tiny rip in the dust jacket, but no material is missing (as in a chip). It can be "shut" and protected from further tearing with a Mylar cover. Cocked means the book is no longer square. If laid down, the book appears to be pushed (slanted) forward or backward from the spine. Creasing is where the dust jacket or pages have been bent, and then returned to its original state. Dampstain is a tan or gray stain resulting from water or other liquid damage. End papers or pastedowns are the sheets of paper pasted onto the inner covers, joining the book block to the covers. One side of the sheet is pasted to the inside cover, the other is left free (see FFEP). FFEP stands for front free-endpaper. This is the first page of any book. Though usually blank, it is a common place for an inscription. Foxing is the term used for the rust colored spots which occur on paper. This is the result of oxidation of both organic and iron impurities left behind during the paper making process. Front, top or bottom edge: These are the outside page edges. Loose is what happens to a book which has been read several times. The cover easily flaps open and the pages do not return to a tight condition. Heal or tail is the bottom of the spine. Head is the top of the spine. Mass-Market paperback is the most common paperback book, about four inches wide and seven inches high. Seen most often as "popular" fiction, science fiction and romance books. Mylar cover is the clear film that most fine bookshops use to cover and protect the dust jackets. Spine separation occurs at the head (top) of the spine where the fingers grab and pull the book from the shelf. After repeated pulling, the glue holding the outer spine board to the inner binding separates. Sunned is the fading of paper or binding as a result of sun exposure. Trade paperback is a softcover book which is generally large in size and made of better quality materials than a Mass-Market paperback. Wraps are the outer covers of a softcover (paperback) book or pamphlet.…
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Modern First Editions, Military History, Natural History, Anthropology, Art, Literature, History, Archaeology, Design, JudaicaProfil professionnel du vendeur
Last Exit Books
VA, Etats-Unis
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