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Those are themes that are, as I’ve said, as fresh today as ever.Ĭity on Fire ends on a compelling note, especially for your fans. Themes of revenge and revenge-versus-compassion. People fleeing their homes in the face of a relentless attack. Look at some of these other Ukrainian cities, and you can look back at Troy. It is, and I think it’s because these patterns reflect real human experience. In The Godfather-the imperilment of the family, the near destruction of the entire enterprise, the fleeing to another place, the rise of an unlikely leader-the Greek patterns are uncanny once you decide to look at it in that light. And listen, smarter people than me have said it and said it long time ago: There are like 12 original ideas and we just keep doing them over in different ways. I admit that Diane Keaton makes an odd sort of Falstaff, but that’s her role. The Godfather is a re-telling of Henry IV. It’s amazing that hasn’t been discussed more often. Those ancient Greek narrative patterns are right there. Reading your book, I thought of Coppola’s The Godfather. They tell universal human stories that are fresh now as they were then.
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Those classics are classics for a reason. City on Fire definitely has a Winslow Trojan Horse for instance.
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It’s fun to see how you sneak certain things in. And I wondered if I could tell a contemporary crime story that stood on its own but was inspired by those themes. I was struck by the parallels between some of the stories in The Iliad and The Aeneid and crime fiction and crime reality. Back in the mid ‘90s, I started to read the classics as kind of autodidactic effort at educating myself. It took a while to pick that up again.īased on the intro you wrote for City on Fire, it sounds this new trilogy has been percolating in you for a while. And so for writing this book it was a matter of listening and picking up the East Coast dialects, the East Coast rhythms. I left the East Coast when I was 17, and I’ve gone back a lot, and over the last five or six years we’ve started to go back more and more often and stay longer. Was there a different approach for you, in terms of prep and writing, for venturing east after so many books in California and Mexico? Last time we talked about the differences between the East Coast and West Coast crime traditions a little bit. It was interesting to read an East Coast book from you.
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Talking with Winslow last week over the phone, he revealed that with his new trilogy, of which City on Fire is the first part, he’s seeking to establish the often marginalized crime fiction genre as another grand thread in the canvas of the entire tradition of storytelling, from the Greek tragedies to Cervantes to Dickens to even the streaming TV revolution of today. City on Fire is vintage Winslow: carefully structured yet lively, with a volatile tone that evokes the beauty and chaos of life for over-the-top mobsters and every-people alike. Returning to his New England roots, most vividly the Irish “Dogtown” neighborhoods of Providence, Rhode Island, Winslow evokes a troubled community of fishermen, a fading away of theoretically principled mob rule, and an escalating war between Irish and Italian mobsters that threatens to annihilate an ecosystem of crooks, politicians, cops, and ordinary working Joes. The poignant, atmospheric, brutally violent novel is the first in a new trilogy that re-contextualizes the sweeping arcs of classic Greek literature like The Iliad and The Aeneid into a hard-boiled yet heartbreaking story of a 1980s-era blood war.
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A few years after wrapping his incendiary Cartel trilogy and releasing Broken, a compact series of stories of highly charged and varying flavors, Don Winslow returns to epic storytelling with City on Fire.