By Faye Kellerman

The harsh and weird slaying of a pretty youngster leads Detective Decker into the darkish middle of an unique way of life: the seamy, occasionally violent international of Southern California's rootless, prosperous adolescence. yet even the confession of a disturbed child with chilly "killer eyes" can't soothe Decker's internal torment. For he is aware in his intestine this crime is going a lot deeper and better than someone expects -- and that precise justice, brutal and whole, has but to be performed.

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Extra resources for Justice (Peter Decker & Rina Lazarus, Book 8)

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Is is the person who lived with his wife but whose series of conscious memories halted soon a er the assault. Leonard 2a su ers a kind of death when his entire set of memories is infected, is fused with that of another person. In point of fact, there is no way to ascertain the details of this fusion, either from the inside or from the outside, or to decide which of his present memories are true and which false. But this is not really death, for some person seems to survive. Leonard 2b comes into being at this point.

In other words, memories seem to be united in a series only because most of them really happened to the same person. 6 But, given this possibility, it is more plausible to say that personal identity is constituted by the “thinking substance” (a mind or soul) and is not a matter of conscious memories at all. is objection too is less than decisive. Derek Parfit, a contemporary philosopher, notes that it assumes that the conscious memories in any series really did happen to the same person. 7 If conscious memories are thought of in this way, we may suppose that they are in a particular series, but not that they happened to any particular person.

19. 6. René Descartes, Meditations on First Philosophy (1641), trans. Donald A. Cress (Indianapolis: Hackett, 1980), 68. 7. Sartre, “Existentialism,” 37–38. 8. , 22. Sartre is quoting Dostoyevsky. John Locke, Personal Identity, and Memento Basil Smith In his Essay concerning Human Understanding, John Locke famously o ers an explanation of personal identity. 1 Christopher Nolan’s Memento (2000) tests this theory of personal identity. In the film, Leonard Shelby (Guy Pearce), an insurance investigator from San Francisco, su ers shortterm memory loss as a result of an assault on his wife, Catherine (Jorja Fox), and himself.

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