• print • Sept/Oct/Nov 2006

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  • print • Sept/Oct/Nov 2006

    Ark Angels

    Perhaps the chief draw of any postapocalyptic spectacle is the vast opportunity for plunder; Chris Adrian's medical millenarianism, however, envisions a band of survivors rather indisposed to such distraction. The Children's Hospital imagines a genre-exploding eschaton where the chief residual vice is less indulgence than blinkered intensity: Its legatees are doctors, and come hell or high water—or, in this case, both—nothing will delay their rounds. Adrian's epic opens with a flood that drowns the planet under seven miles of water, and the only postdiluvial buoy is a floating pediatric hospital

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  • print • Sept/Oct/Nov 2006

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  • print • Sept/Oct/Nov 2006

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  • print • Sept/Oct/Nov 2006

    Altman, Highsmith, and the Torah

    Once dubbed a "sadistic moralist" by Newsweek, Michael Tolkin has been spinning tales about the ethically challenged in film (Deep Impact, The New Age, and The Rapture) and on the page (Among the Dead and Under Radar) for the past twenty years. But it was his memorable debut novel, The Player (1988), which he adapted for the screen with Robert Altman in 1992, that put him on the literary map. The eponymous player is Griffin Mill, a soon-to-be-fired studio executive who turns to murder after a frustrated, unproduced screenwriter starts sending him anonymous, threatening postcards. In a writerly

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