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This biting commentary on the follies of humankind by a noted Mexican author cuts deeply yet leaves readers laughing—at themselves as well as at others. With his surgical intelligence, Juan José Arreola exposes the shams and hypocrisies, the false values and vices, the hidden diseases of society. Confabulario total, 1941–1961, of which this book is a translation, combines three earlier books—Varia invención (1949), Confabulario (1952), Punta de plata (1958)—and numerous later pieces. Although some of the pieces have a noticeably Mexican orientation, most of them transcend strictly regional themes to interpret the social scene in aspects common to all civilized cultures. Arreola’s view is not limited; much of his sophistication comes from his broad, deep, and varied knowledge of present and past, and from his almost casual use both of this knowledge and of his insight into its meaning for humanity. His familiarity with many little-known arts and sciences, numerous literatures, history, anthropology, and psychology, and his telling allusions to this rich lode of fact, increase the reader’s delight in his learned but witty, scalding but poetic, satire.
She was a phoenix rising from the ashes. I was drawn to her in a way I had never felt before. And then she shot me. What type of woman chooses to reenact every right of passage in this small town? This woman, that’s who. I might as well. It’s not like I’m getting any younger. Besides, I never got around to any of this in high school. I’m past due. I just didn’t plan on becoming the gorgeous, new sheriff deputy’s main focus. Turns out being chased by the sheriff is exhilarating. Eliot Caraway is going to be the death of me. She’s mischievous and reckless. She’s also the most beautiful and brilliant woman I’ve ever crossed paths with. I don’t know why she’s on this destructive path, but she’s dragging me along for the ride. If I can’t get to the bottom of this soon, we may both wind up paying the price. I’d just really like to give her something else to focus on before it goes that far.
Namiko and Maximilian are back, and they're determined to make Cori pay for the things that she's done, all while dealing with a handful of new rivals. Knowing she has made so many enemies, Cori has skipped town, making everyone wonder where to and why. In part two of Married to a Distinguished Thug, the least expected happens, causing more drama than ever; especially when Kiyuki starts sleeping with a former foe. Will Namiko and Max find out who was really behind it all, or will they become too drawn into their new found drama to see it? Will Kiyuki turn over a new leaf in time? Or just take her scheming ways to new heights? And if she does change her ways, will her past even let her enjoy the fruits of her new life?
“I can’t fall in love, I can barely fall asleep!” Your favorite characters from the East side of Atlanta are back with more drama, murder, drugs, secrets, and sex. Come take a ride with Charlie as her and the gang deals with grief, depression, deception, and maintaining their lifestyle. Will they survive the life they choose? Or will this life take them under. Who kidnapped Tiarah? What did Charlie see when she walked in Najee’s home? All your questions will finally be answered. Aye! It’s up!
“This crazy, gorgeous family novel” written at the end of the Great Depression “is one of the great literary achievements of the twentieth century” (Jonathan Franzen, The New York Times). First published in 1940, The Man Who Loved Children was rediscovered in 1965 thanks to the poet Randall Jarrell’s eloquent introduction (included in this ebook edition), which compares Christina Stead to Leo Tolstoy. Today, it stands as a masterpiece of dysfunctional family life. In a country crippled by the Great Depression, Sam and Henny Pollit have too much—too much contempt for one another, too many children, too much strain under endless obligation. Flush with ego and chilling charisma, Sam torments and manipulates his children in an esoteric world of his own imagining. Henny looks on desperately, all too aware of the madness at the root of her husband’s behavior. And Louie, the damaged, precocious adolescent girl at the center of their clashes, is the “ugly duckling” whose struggle will transfix contemporary readers. Named one of the best novels of the twentieth century by Newsweek, Stead’s semiautobiographical work reads like a Depression-era The Glass Castle. In the New York Times, Jonathan Franzen wrote of this classic, “I carry it in my head the way I carry childhood memories; the scenes are of such precise horror and comedy that I feel I didn’t read the book so much as live it.”
Drawn from engagements ranging from World War I through to operations in East Timor and Iraq, these stories are taken from the Australians at War Film Archive, a collection of the memories of more than 2000 Australians who have served, both on the front line and at home. Some are unbelievably, unbearably tragic, even after sixty or seventy years; others are the golden memories of happy, albeit unusual, times. And, more often than not, they are stories that have never been shared with others, even family members. There are stories from winners of the Victoria Cross; from the POW camps of Asia and Europe; from the patrols of Vietnam, through to those who served as peacekeepers in Rwanda and Somalia. There are stories from nurses, from those who have volunteered to serve with aid agencies and stories of ordinary Australians caught up by circumstances and by duty, in wartime. These are their words.