Essay - Bloodline Structure and Form in Bloodline by Sidney Sheldon Bloodline...

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Structure and Form in Bloodline by Sidney Sheldon

***** by the mystery and suspense novelist Sidney Sheldon is a nail-biting mystery thriller told from multiple perspectives of a cast of different characters, all with slightly shady pasts, ***** with a reason to want the young, beautiful, determined—but slightly na ve victim dead. At the beginning of the book, ***** soon-to-be victimized, twenty-four-year old Elizabeth Roffe ("tragically" born a girl, in her fat*****'s eyes) is left the heiress of a multibillion-doll*****r drug company, ***** ***** Sons after her father's suspicious death (***** 101).

Although she is at the helm of the company, four ***** her cousins are still co-owners of the company. All ***** them ***** to make money, quickly, so they pressure her to make the company public, but Elizabeth wants to retain control over the fortune and power she has just inherited, even if th***** may make the company's financial backers choke ***** their morning coffee. After all, a woman has never stood at the helm of Roffe and Sons. Elizabeth will not bend to their pressure and instead relies upon the guidance of her trusted advisor Rhys Williams.

The ***** vying for ***** *****in ***** company all have different backgrounds, ***** ***** have good reasons for disliking Elizabeth, although some of them, such as Alec, were kind to Elizabeth when she was a *****er child. As well as detailing the different brushes with death Elizabeth experiences before she is apparently murdered, the story includes flashbacks ***** the bizarre lives of the likely suspects. This creates a sense of suspense, because the reader is ***** sure if he or s***** ***** identifying with a possible killer or psychopath, as ***** ***** unfolds. It is clear early on that the stakes are high and Elizabeth's life ***** in danger because of the power she assumes—but from whom?

The reader alternately feels sympathy with and repulsion for all of the ***** cousins, as his or her perspective moves from that of the British, womanizing *****, Parisian Helene and ***** husband Charles (who "married her for ***** name and her money") from Paris, ***** German Anna from Berlin who is married to a m*****n thirteen years her junior, and Italian Ivo (Sheldon 70; 282). The author tries to make the occasionally confusing plot line, back story, ***** the many characters less so by titling the ***** chapters by location and when ***** events are taking place, like "Istanbul, Saturday, September 5th Ten p.m." (Sheldon 1). This also creates a sense of excitement, as things seem to be evolving on a moment-by-moment b*****is at times, while ***** other times taking lei*****ly detours into the past. When there are more extended scenes these scenes ***** to increase in weight and importance, ***** as the scene in which Eliza*****th learns that she has been left the majority of her father's stock in the company.

Although the ***** identifies with all ***** ***** characters, there is a certain distance as well, that creates a cool


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