William Rabkin - A Mind Is a Terrible Thing to Read (2009) (Psych #01) William Rabkin - Mind Over Magic (2009) (Psych #02) William Rabkin - The Call of the Mild (Psych, book 3)
Beryl Bainbridge - According To Queenie.txt Beryl Bainbridge - Another Part of The Wood (epub, html, mobi).rar Beryl Bainbridge - Another Part Of The Wood.epub Beryl Bainbridge - Master Georgie.txt Beryl Bainbridge - The Dressmaker.txt Beryl Bainbridge - The Secret Glass (aka The Dressmaker).txt Beryl Bainbridge - The Secret Glass.txt Beryl Bainbridge - Winter Garden.rar
Don DeLillo (born November 20, 1936) is an american author, playwright, and occasional essayist whose work paints a detailed portrait of American life in the late 20th and early 21st centuries. DeLillo's novels have tackled subjects as diverse as television, nuclear war, sports, the complexities of language, performance art, the Cold War, mathematics, the advent of the digital age, and global terrorism. He currently lives near New York City in the suburb of Bronxville
In the introduction to his 2003 collection of journalism, “Death as a Way of Life,” the Israeli novelist David Grossmanwrote: “The daily reality in which I live surpasses anything I could imagine, and it seeps into my deepest parts.” In a note at the conclusion of his somber, haunting new novel, “To the End of the Land,” he explains that he began writing it in May 2003 — around the same time he wrote that introduction, six months before the end of his older son’s military service and a year and a half before his younger son, Uri, enlisted. “At the time,” he writes, “I had the feeling — or rather, a wish — that the book I was writing would protect him.”
“On Aug. 12, 2006,” Grossman continues, “in the final hours of the Second Lebanon War, Uri was killed in Southern Lebanon.” By that time, most of this book “was already written. What changed, above all, was the echo of the reality in which the final draft was written.”
It is a testament to Grossman’s novelistic talent, indeed perhaps his genius, that “To the End of the Land” manages to create and dramatize a world that gives both the reality and the echo their full due. He weaves the essences of private life into the tapestry of history with deliberate and delicate skill; he has created a panorama of breathtaking emotional force, a masterpiece of pacing, of dedicated storytelling, with characters whose lives are etched with extraordinary, vivid detail. While his novel has the vast sweep of pure tragedy, it is also at times playful, and utterly engrossing; it is filled with original and unexpected detail about domestic life, about the shapes and shadows that surround love and memory, and about the sharp and desperate edges of loss and fear.
This novel is, on the one hand, a retelling of Truffaut’s “Jules and Jim,” in which two guys, best friends, fall in love with the same girl. Ora, the girl in this novel, is emotional, introspective, filled with an ability to notice and an ability to love. As for the boys, Ilan is rational, vulnerable, brittle, oddly needy and nerdy; and Avram is impulsive, brilliant, super*intelligent, larger than life. Having loved them both, Ora finally decides to marry Ilan, and they have a son, Adam; a few years later, made pregnant by Avram, she has a second son, Ofer, who is brought up as though he were Ilan’s child.
In another society, this might have the makings of a comedy, but in Israel between 1967 and 2000, the years in which the novel takes place, public life had a way of eating into the most private moments and the most intimate relationships and poisoning them. Avram is captured and tortured during the 1973 war; this free-spirited, somewhat goofy genius is thereafter a broken man. He does not want to have anything to do with his old friends and does not want to see his son.
In parallel with the pain and terror of war, there is daily life. Grossman offers a wonderful, almost quirky account of Ora raising her two boys. He has a way of making the most ordinary moments glow, each detail chosen to suggest how odd and engaging people are, and how unsimple and deeply interesting human relations become. Like everything else in the book, the haven of love and care that Ora creates for her sons and her husband is invaded by fear and misery and a sort of coarseness once her sons begin their military service, entering a world of roadblocks, ambushes and arrests that she can only imagine in horror.
With her husband and elder son away in South America, Ora arranges to go on a hike with Ofer when his time with the military is up. Instead, he re-enlists. Ora must again live in fear of the “notifiers” from the army, who might call in the night, knocking on her door to deliver bad news.
Rather than staying at home and waiting, however, Ora settles on an almost magical way of keeping her son safe: she will not be there for the notifiers if they call. She will go to the north of Israel without a phone, where no one can notify her of anything, and she will hike south and not listen to news. She will find Avram, the boy’s father, and she will make him come with her.
The novel traces what happens as they walk and talk. Most of the time this device works brilliantly. Ora needs to tell Avram about his son, every single detail she can think of, to make him come alive for his natural father for the first time. By invoking him with such zeal, however, she is already placing him in the past. This casts a shadow on their walk and imbues their conversation with a sort of dark tension. At times, Ora’s level of self-consciousness, her alertness to the emotional contours of things, her exquisite introspection, give this story the depth and privacy of an *Ingmar Bergman film, especially “Scenes From a Marriage.” The story she tells darts between public and private life, between war and torture on the one hand and the sweet anxieties of bourgeois life on the other.
As in other novels of love and loyalty in a time of conflict — Nadine Gordimer’s “Burger’s Daughter,” Michael Ondaatje’s “English Patient” or Shirley Hazzard’s “Great Fire” — there is a palpable urgency here about the carnal and the sexual. The portrait of Ora as a woman alive in her body is one of the triumphs of Grossman’s book.
Grossman also manages to play the ordinary against the highly charged. He displays masterly control over the emotional life of the novel, maintaining it at a very high level indeed, and then pushing it at points where the narrative becomes almost unbearable. There is a moment, for example, when Ora and Avram meet a man on their journey who says, “It’s good to get away from the news a bit, especially after yesterday,” and you simply have to put the book down, so great is your fear for Ora’s son. There is another moment, told in flashback, when Avram, delirious in the hospital, having been released from captivity after the war, when he was led to believe that Israel had been fully defeated, asks Ora: “Is there . . . Is there an Israel?” Again, the tension becomes so great that you hold your breath.
To say this is an antiwar book is to put it too mildly, and in any case such labels do an injustice to its great sweep, the levels of its sympathy. There is a plenitude of felt life in the book. There is a novelist’s notice taken of the sheer complexity not only of the characters but of the legacy of pain and conflict written into the gnarled and beautiful landscape through which Ora and Avram walk. And there is the story itself, unfolded with care and truth, wit and tenderness and rare understanding. This is one of those few novels that feel as though they have made a difference to the world.
Colm Toibin is the author, most recently, of the novel “Brooklyn.”
The Godfather - Puzo , Mario Pride And Prejudice And Zombies - Grahame-Smith , Seth Abraham Lincoln , Vampire Hunter - Grahame-Smith , Seth Pretty Little Liars - Shepard , Sara How To Get Rich - Trump , Donald If I Did It - Simpson , O.J The Hobbit - Tolkien , J.R.R The Silmarillion - Tolkien , J.R.R The Children Of Hurin - Tolkien , J.R.R And Another Thing - Clarkson , Jeremy Clarkson on Cars - Clarkson , Jeremy Born To Be Riled - Clarkson , Jeremy Don t Stop Me Now - Clarkson , Jeremy For Crying Out Loud , - Clarkson , Jeremy I Know You Got Soul , Machines With That - Clarkson , Jeremy Motorworld - Clarkson , Jeremy Barrel Fever - Sedaris , David Dress Your Family in Corduroy and Denim - Sedaris , David Me Talk Pretty One Day - Sedaris , David Naked - Sedaris , David Santa Land Diaries - Sedaris , David 2001 - A Space Odyssey - Clarke , Arthur C 2010 , Odyssey Two - Clarke , Arthur C 2061 , Odyssey Three - Clarke , Arthur C 3001 , The Final Odyssey - Clarke , Arthur C The Fountains of Paradise - Clarke , Arthur C The Lost Worlds of 2001 - Clarke , Arthur C Time Odyssey 1 - Times Eye - Clarke , Arthur C Time Odyssey 2 - Sunstorm - Clarke , Arthur C Time Odyssey 3 - Firstborn - Clarke , Arthur C The Road - McCarthy , Cormac No Country For Old Men - McCarthy , Cormac Border Trilogy 1 - All the Pretty Horses - McCarthy , Cormac Border Trilogy 2 - The Crossing - McCarthy , Cormac Border Trilogy 3 - Cities of The Plain - McCarthy , Cormac Wicked - The Life and Times of the Wicke - Maguire , Gregory Wicked 2 - Son of a Witch - Maquire , Gregory Wicked 3 - A Lion Among Men - Maguire , Gregory Lost - Maguire , Gregory Mirror Mirror - Maquire , Gregory Pretty Little Liars 2 - Flawless - Shepard , Sara Pretty Little Liars 3 - Perfect - Shepard , Sara Pretty Little Liars 4 - Unbelievable - Shepard , Sara Pretty Little Liars 5 - Wicked - Shepard , Sara Pretty Little Liars 6 - Killer - Shepard , Sara Pretty Little Liars 7 - Heartless - Shepard , Sara
Mario Vargas Llosa, a former candidate for the presidency of Peru , is better placed than most novelists to write about the machinations of Latin American politics. In The Feast of the Goat he offers a vivid re-creation of the Dominican Republic during the final days of General Rafael Trujillo's insidious and evil regime. Told from several viewpoints, the book has three distinctive, alternating strands. There is Urania Cabral, the daughter of Trujillo's disgraced secretary of state, who has returned to Santo Domingo after more than 30 years. Now a successful New York lawyer, Urania has never forgiven her aging and paralyzed father, AgustÃn, for literally sacrificing her to the carnal despot in the hope of regaining his political post. Flipping back to May of 1961, there is a group of assassins, all equally scarred by Trujillo, waiting to gun the Generalissimo down. Finally there is an astonishing portrait of Trujillo--the Goat--and his grotesque coterie. Llosa depicts Trujillo as a villain of Shakespearean proportions. He is a preening, macho dandy who equates his own virility with the nation's health. An admirer of Hitler "not for his ideas but for the way he wore a uniform" (fittingly he equips his secret police force with a fleet of black Volkswagen Beetles), Trujillo even has his own Himler in Colonel Abbes Garcia, a vicious torturer with a predilection for the occult.
As the novel edges toward Trujillo's inevitable murder, Urania's story gets a bit lost in the action; the remaining narratives however, are rarely short of mesmerizing. Trujillo's death unleashes a new order, but not the one expected by the conspirators. Enslaved by the soul of the dead chief, neither they nor the Trujillo family--who embark on a hideous spree of bloody reprisals--are able to fill the void. Llosa has them all skillfully outmaneuvered by the puppet-president JoaquÃn Belaguer, a former poet who is the very antithesis of the machismo Goat. Savage, touching, and bleakly funny, this compelling book gives an all too human face to one of Latin America's most destructive tyrants. --Travis Elborough,
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After three years of studying with the Empress Bykoda, Jemeryl has learned all that the elderly sorcerer can teach her and is ready to return to Lyremouth. However, before she leaves, Bykoda reveals a grim secret - an oracle of death, and asks her to perform one final assignment. Jemeryl must take Bykoda's talisman to a place of safety. Failure will mean complete destruction not only in the present, but also the past. While in Tirakhalod, Tevi has been working as an officer in Bykoda's army. It has been a difficult time for her, living in a land where those who cannot work magic are treated as insignificant. Only Jemeryl's love has made life bearable. With the return to the Protectorate drawing close, she heros that the worst is over. However, somebody is after the talisman, and that person is willing to commit murder to get what they want.
1. The Silver Pigs (1989) winner of the Author's Club First Novel Award 2. Shadows in Bronze (1990) 3. Venus in Copper (1991) 4. The Iron Hand of Mars (1992 [color="red"]5. Poseidon's Gold (1993) 6. Last Act in Palmyra (1994) 7. Time to Depart (1995) 8. A Dying Light in Corduba (1996) 9. Three Hands in the Fountain (1997) 10. Two for the Lions (1998) 11. One Virgin Too Many (1999) 12. Ode to a Banker (2000) 13. A Body in the Bath House (2001) 14. The Jupiter Myth (2002) 15. The Accusers (2003) 16. Scandal Takes a Holiday (2004) 17. See Delphi and Die (2005) 18. Saturnalia (2007) 19. Alexandria (2009)
Mick Jagger has always looked -- will always look -- like Mick Jagger. But try to connect the glum schoolboy-guitarist of early '60s black-and-white pics with the Keith Richards of today. A heap of living and occasional bouts of near-dying have gone into that flayed, weathered, kohl-eyed visage, whose topography suggests a moonscape irrigated with Jack Daniel's. After half a century on the road, Richards has the face he deserves -- but not, it appears, the brain. Against all pharmaceutical odds, he has held on to a substantial portion of his own history and has turned it into the most scabrously honest and essential rock memoir in a long time. Then again, where's the competition? The gods of rock-and-roll tend to falter on the printed page. (Even Bob Dylan disappoints.) Maybe that's what comes from being a frontman: Gazing night after night into fame's corona blinds you to everything else. It's the guys prowling around behind you, the Harrisons and the Townshends, who take the fullest measure. How else to explain why Richards's "Life" is almost as densely packed as his life? Seemingly everything is here: the shabby origins in an East London suburb ("Everyone from Dartford is a thief. It runs in the blood"); the brief career as, yes, a boy soprano; the first guitar at 15; the astonishingly rapid rise to fame; the groupies and birds and dealers and sidemen; the booms, the busts, the loves lost and won; the hard-won and faintly miraculous old age. In some cases, Richards's memories are supplemented by others; on every page, they are shaped by co-writer James Fox. But the voice that emerges is unmistakably the dark lord's: growly and profane and black with comedy. And, for all that, surprisingly charming, particularly in limning the Rolling Stones' origins, which can be traced, mundanely enough, to a fateful encounter in a train station. Here is how the young Keith described it at the time in a letter to his aunt: "You know I was keen on Chuck Berry and I thought I was the only fan for miles but one mornin' on Dartford Stn. (that's so I don't have to write a long word like station) I was holding one of Chuck's records when a guy I knew at primary school 7-11 yrs y'know came up to me. He's got every record Chuck Berry ever made and all his mates have too. . . . Anyways the guy on the station, he is called Mick Jagger . . . the greatest R&B singer this side of the Atlantic and I don't mean maybe." Still teenagers, Mick and Keith were soon recruiting other musicians to their cause -- a guitarist named Brian Jones, a drummer named Charlie Watts -- and spending every hour of every day listening to American blues players, trying to divine the music's secret language. They borrowed their band's name from a Muddy Waters tune, nabbed their first regular gig at a joint called the Crawdaddy Club, and within six weeks they were famous. Take that, Lennon and McCartney! Small wonder that the Stones were marketed from the very start as "the anti-Beatles," the boys you must never let your daughters marry (and who will, on occasion, resemble your daughters). And through a combination of provocative behavior and equally provocative songs like "Sympathy for the Devil" and "Paint It Black," they got themselves promoted to "most dangerous rock-and-roll band in the world," a reputation sealed by the violent 1969 concert at California's Altamont Speedway. Infamy like this doesn't seem to have bothered Richards too much. And if he's less enthused by fame, he's never shied away from its perks. As a pop star, everything was vouchsafed to him: other people's clothes; other people's women; a battery of lawyers to bail him out every time he was arrested; a posse of enablers, leaving him free to do what he did best, which was to make music and get high. He undertook getting high with particular gusto: first weed and hash, then coke ("pure, pure Merck") and, for a ruinous decade, heroin. Even by rock standards, his consumption levels were Olympian. For a decade, he topped a magazine's list of "rock stars most likely to die." And yet here he is, defiantly alive, and defiant in every other respect, too, his language just as politically incorrect, his judgments every bit as summary. The late Brian Jones: a whiner. Hugh Hefner: "What a nut." Bianca Jagger: "If she'd had a sense of humor, I'd have married her!" John Lennon: "a silly sod" who never left Richards's house "except horizontally." As for Anita Pallenberg, the model/actress/addict who bore three of Richards's children, family-newspaper decorum prevents me from repeating the author's opinions (even the nice ones). By far the most complex and threshed-out relationship is the one between those two kids at the Dartford train station. They found early on that they were perfectly matched as songwriters -- Richards provided the riffs and chords, Jagger the lyrics -- but ill-matched as people. "Do you know Mick Jagger?" Richards snarls. "Yeah, which one? He's a nice bunch of guys." "Life" is larded with anecdotes of Jagger's egotism and vanity, not to mention aspersions against his manhood, and the hostility piles so high you may be pulled up short when Richards at last writes, with something of a defeated sigh, "I love the man dearly; I'm still his mate." The word "mate" is well chosen, for this is a portrait of a marriage: an impossible union impossible to dissolve. Nearly 50 years on, Jagger and Richards are still (in a fashion) together, still (in a small way) making music. And it's one of the book's triumphs that it never completely loses sight of that music. Richards offers revealing looks into the genesis of individual songs (the breakup that inspired "Ruby Tuesday," for instance) and the complex open tuning that gave records like "Start Me Up" and "Honky Tonk Women" a reverb like no other. By book's end, one thing at least is clear: The work has mattered as much to Richards as the life; at some level, his work has been his life. "I could kick smack," he writes. "I couldn't kick music. One note leads to another, and you never know quite what's going to come next, and you don't want to." Bayard is a novelist who lives in Washington.
James Hadley Chase 21 Novels Classic "Book Noir" of the 40`s and 50`s 12 Chinks and A Woman - James Hadley Chase.lrf A Coffin From Hong Kong - James Hadley Chase.lrf An Ace Up My Sleeve - James Hadley Chase.lrf Cold - James Hadley Chase.lrf Have a Nice Night - James Hadley Chase.lrf Hit and Run - James Hadley Chase.lrf I Would Rather Stay Poor - James Hadley Chase.lrf Lady Here's Your Wreath - James Hadley Chase.lrf Lay Her Among The Lilies - James Hadley Chase.lrf Like A Hole In The Head - James Hadley Chase.lrf Miss Shumway Waves A Wand - James Hadley Chase.lrf More Deadly Than The Male - James Hadley Chase.lrf No Orchids for Miss Blandish - James Hadley Chase (2).lrf No Orchids For Miss Blandish - James Hadley Chase.lrf Strictly For Cash - James Hadley Chase.lrf The Doll`s Bad News - James Hadley Chase.lrf The Soft Centre - James Hadley Chase.lrf The Vulture is a Patient Bird - James Hadley Chase.lrf This Way for a Shroud - James Hadley Chase.lrf We`ll Share a Double Funeral - James Hadley Chase.lrf What`s Better Than Money - James Hadley Chase.lrf All Sony format. Use calibre to convert to other formats. 4.5 MB
1. a rose in winter 2. a season beyond the kiss 3. ashes in the wind 4. come love a stranger 5. everlasting 6.forever in your embrace 7. petals on the river 8. so worthy my love 9. three weddings and a kiss (with other authors such as lisa kleypas, etc) 10. married at midnight 11.shanna 12. the elusive flame 13.the flame and the flower 14. The reluctant suitor 15. the wolf and the dove
#1 One for the Money - Janet Evanovich.epub #10 Ten Big Ones - Janet Evanovich.epub #11 Eleven on Top - Janet Evanovich.epub #12 Twelve Sharp - Janet Evanovich.epub #13 Lean Mean Thirteen - Janet Evanovich.epub #14 Fearless Fourteen - Janet Evanovich.epub #15 Finger Lickin Fifteen - Janet Evanovich.epub #16 Sizzling Sixteen - Janet Evanovich.epub #2 Two for the Dough - Janet Evanovich.epub #3 Three To Get Deadly - Janet Evanovich.epub #4 Four to Score - Janet Evanovich.epub #5 High Five - Janet Evanovich.epub #6 Hot Six - Janet Evanovich.epub #7 Seven Up - Janet Evanovich.epub #8 Hard Eight - Janet Evanovich.epub #9 To the Nines - Janet Evanovich.epub AB 01 Metro Girl - Janet Evanovich.epub AB 02 Motor Mouth - Janet Evanovich.epub Back to the Bedroom - Janet Evanovich.epub Foul Play - Janet Evanovich.epub Hero at Large (epub).epub Love Overboard - Janet Evanovich.epub Manhunt - Janet Evanovich.epub MH 01 Full House - Janet Evanovich.epub MH 02 Full Tilt - Janet Evanovich.epub MH 03 Full Speed - Janet Evanovich.epub MH 04 Full Blast - Janet Evanovich.epub MH 05 Full Bloom - Janet Evanovich.epub Mh 06 Full Scoop - Janet Evanovich.epub Naughty Neighbor - Janet Evanovich.epub Smitten - Janet Evanovich.epub Thanksgiving - Janet Evanovich.epub The Grand Finale - Janet Evanovich.epub The Rocky Road to Romance - Janet Evanovich.epub Wife for Hire - Janet Evanovich.epub
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