Beaumont, Ned

Beaumont, Ned

gambler-detective solves murder case in unorthodox manner. [Am. Lit.: The Glass Key, Magill I, 307–308]
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Far from serving primarily as a masculine agent for the enjoyment of narrative resolutions and closures, Ned Beaumont opens up the text only to summon us to drown in it, returning us again and again, through his interminably desired undoings, to a primal and non-progressive moment of blissfully "feminine" self-destruction that staves off the narrative's ending for as long as bearable, just as the novel's incantatory repetition of his full name (Ned Beaumont, Ned Beaumont, Ned Beaumont) serves as a kind of dadaesque fixation, a retardation and erosion of developmental kernels.