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A Long Curving Scar Where the Heart Should Be unfolds on the unruly, mixed-race, queer-sexed margins of a conservative 1930s Southern town. In the wake of abandonment by her husband, an impoverished young midwife and her twin daughters create a hospice and sanctuary for the town's outcasts within a deserted antebellum plantation house.
Joyce Carol Oates, Ann Beattie, Diane Ackerman, and more explore the double-edged sword of curiosity . . . Curiosity is as central to life as breathing. And like breath itself, when it ceases, the vibrancy of life fades and disappears. Curiosity leads to discoveries both beneficent and, at times, destructive. It often occasions wonderment, but also terror. It prompts the precise scientist, but also the nosy gadfly. A double-edged sword, curiosity has forever held a crucial role in myth, literature, science, philosophy, history—nearly every field of human endeavor. While most of us know the old saying about curiosity killing the cat, we must also remember that “satisfaction brought it back.” Curiosity incites and compels, taketh away and giveth. In this issue, curiosity impels a personal assistant to learn hidden truths about her deceased employer—a famed playwright—and his relationship with the woman who directs an Italian arts foundation to which he donated his priceless library of first editions. A novelist, inspired by a different kind of curiosity, studies the traditional teachings of his Cherokee forebears after reading the notebook his beloved grandfather possessed when he died. Elsewhere, a young boy removes his clothes and, driven by dangerous curiosity, crawls into the gaping darkness of a sewer pipe, where he mysteriously vanishes, altering the lives of everyone who knew him. While most of the stories, poems, and memoirs here investigate the places where curiosity transports us—from forgotten burial grounds to natural history museums, from alluring lakes to postapocalyptic seaside shanties—A Cabinet of Curiosity also features a singular visit to an archetypal curiosity cabinet in Amsterdam with its treasury of specimens, of oddities in jars and on shelves, of things pinned and things afloat. Curiosity in all its guises is the wellspring of revelation. It is a prime mover behind our deeds, good or evil, simple or complicated. While the thirty-one writers gathered here individually explore many of the ways in which curiosity drives and defines us, together they propose that the realms of curiosity are, finally, inexhaustible. A Cabinet of Curiosity includes contributions from Laura van den Berg, Ann Beattie, Brandon Hobson, Eleni Sikelianos, Greg Jackson, Julianna Baggott, Jeffrey Ford, Joyce Carol Oates, William Lychack, Joanna Scott, Catherine Imbriglio, Dave King, Lauren Green, Can Xue (Translated by Karen Gernant, Chen Zeping), Nathaniel Mackey, A. D. Jameson, Quintan Ana Wikswo, Lynn Schmeidler, Samuel R. Delany, Kelsey Peterson, Sarah Blackman, Gerard Malanga, Martine Bellen, Maud Casey, Gregory Norman Bossert, Stephen O’Connor, Matt Bell, Madeline Kearin, Bin Ramke, Diane Ackerman, Elizabeth Hand.
Sadie meets Girl in Pieces in this dark, emotional thriller by acclaimed author Saundra Mitchell. Something happened to Ava. The curving scar on her face is proof. Ava would rather keep that something hidden—buried deep in her heart and her soul. But in the woods on the outskirts of town, the traces of someone else’s secrets lie frozen, awaiting Ava’s discovery—and what Ava finds threatens to topple the carefully constructed wall of normalcy that she’s spent years building around her. Secrets leave scars. But when the secret in question is not your own—do you ignore the truth and walk away? Or do you uncover it from its shallow grave and let it reopen old wounds—wounds that have finally begun to heal?
In this book we are given a unique view of East Africa of the 1950s; not the stereotyped picture of wildlife safaris and leaping Masai, but the emerging independence struggle of a new African nation from the viewpoint of a white police office, in an exceptionally detailed, thoroughly readable, firsthand account of a rare period of recent history. It tells how an Australian veteran, fresh from the Korean War, became a colonial police officer in Tanganyika Territory (later Tanzania after federation with the offshore islands of Zanzibar in 1964). Ê The reader is taken on a journey which tourists in Africa never see: from back alleys and police cells in the polyglot city of Dar es Salaam, to snake-infested camps on UgandaÐRuanda border patrols, and on police field force emergency operations from barracks at the foot of Kilimanjaro. There is much here to discover about a mostly benign semi-colonial period in Africa which lasted less than fifty years, passing, in one AfricanÕs description, as briefly as a butterflyÕs heartbeat; where a few conscientious white administrators and their loyal African assistants managed vast regions of a desolate territory with remarkably selfless care and scarce resources; where things worked most of the time, but sometimes where chaos reigned. It is about the country itself, its ubiquitous animals and its people at close range, including villagers, criminals, hunters, witch doctors, and colonial officials, but most of all, the African askari policemen who were the authorÕs closeÑand often onlyÑcompanions.
Xavier Delacroix must travel back into the Dark WOrld to take back the Great Vampire's sword. But he finds the Dark World has changed since his last visit, and the one who holds the sword is not ready to give it up.
font size="+1"'Astoundingly good. Brave, wickedly funny and profoundly affecting. Wow!' Miranda Dickinson/font size font size="+1"'An emotional punch-packer of a book. Be prepared for it to swallow you whole' Milly Johnson/font size font size="+1"'A big-hearted, funny, hugely emotional and uplifting novel - I loved it!' Rachael Lucas/font size font size="+1"'Such a beautifully written book with characters that will linger in your head and heart' Sarah J Naughton/font size **** You don't need talent to join this group of actors. The ability to remember lines or stay awake throughout a performance is appreciated, but not essential. The only mandatory is a terminal diagnosis. But Adam Campbell is less than enthusiastic about this eccentric form of group therapy. He has under one year to live, and a heck of lot to get done. Like explaining mortality to his six-year-old daughter. And making amends with the woman who should have been his wife. The last thing Adam needs is a part in an amateur production of 'Shakespeare's Greatest Deaths'. But help and hope can be found where we least expect them. And perhaps camaraderie, and a shared purpose, will turn out to be the best medicine after all. As Shakespeare, didn't quite put it: Shuffling off this mortal coil is a drag; but it's no reason to stop living. The Cancer Ladies' Running Club meets The One Hundred Years of Lenni and Margot, The Last Act of Adam Campbell is a warm, poignant and wise tale about love, friendship, and making the most of every minute of life that we're granted.
When love, lust, and longing, have all but killed you, and Newtonian physics has become too painfully restrictive, is it possible to find freedom in another dimension? Have you lost the will to live, or the will to live as human? Castaways in unmapped terrain, the characters in The Hope of Floating Has Carried Us This Far burrow underground in tunnels made by ancient nautiluses. They lay eggs by the seashore, and greet the sailors who come to carry those eggs away. And each by each, they choose to live—but to surrender their human forms. From within their peculiar neither-here-nor-there-doms, they learn to live in unbounded states, with edges that can no longer be marked, and meanings that can no longer be defined. Quintan Ana Wikswo is a writer and visual artist recognized for adventurous works that integrate her fiction, poetry, memoir, and essay with her photographs, performances, and films. Her works are published, performed, and exhibited throughout the world, including anthologies, artist books, magazines such as Tin House, Guernica, Conjunctions, the Kenyon Review, and Gulf Coast, and in multiple solo museum exhibitions in New York City and Berlin. A human rights worker for two decades, she now uses salvaged government typewriters and cameras to navigate known, unknown, and occluded worlds, especially obscured sites where crimes against humanity have taken place. She lives in Brooklyn.