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Now: Sixteen-year-old Jesse is used to living with the echoes of the past. Her older brother died in the September 11th attacks, and her dad since has filled their home with anger and grief. When Jesse gets caught up with the wrong crowd, one momentary hate-fueled decision turns her life upside down. The only way to make amends is to face the past, starting Jesse on a journey that will reveal the truth about how her brother died. Then: In 2001, sixteen-year-old Alia is proud to be Muslim . . . it's being a teenager that she finds difficult. After being grounded for a stupid mistake, Alia decides to confront her father at his Manhattan office, putting her in danger she never could have imagined. When the planes collide into the Twin Towers, Alia is trapped inside one of the buildings. In the final hours, she meets a boy who will change everything for her as the flames rage around them . . . Interweaving stories from past and present, All We Have Left brings one of the most important days in our recent history to life, showing that love and hope will always triumph. A Kirkus Reviews Best Books of 2016 selection
From the author of THE BRIDGE FROM ME TO YOU, a groundbreaking novel about what matters most -- when time is running out. What do you do with your last day on earth?There are 27 hours and fifteen minutes left until an asteroid strikes North America, and, for Emerson and everyone else who didn't leave, the world will end. But Emerson's world already ended when she ran away from home last year. Since then she has lived on the streets, relying on her wits and her friend Vince to help her find places to sleep and food to eat.The city's quieter now that most people are gone, and no one seems to know what to do as the end approaches. But then Emerson and Vince meet Carl, who tells them that he has been granting people's wishes. He gave his car away so a woman could take her son to see the ocean for the first time, and he gives Emerson and Vince all the money he has in his wallet.Suddenly this last day seems full of possibility. Emerson and Vince can grant a lot of wishes in 27 hours -- maybe even their own.
"[A] portrait of a gritty mother and daughter, living on the edge of poverty, who find an unlikely home amid the quirky residents of small town America" --
When a teenage girl’s single mom is taken by ICE, everything changes—all of her hopes and dreams for the future turn into survival. Seventeen-year-old Rania is shaken awake in her family's apartment in Brooklyn. ICE is at the door, taking her mother away. But Ammi has done everything right, hasn’t she? Their asylum case is fine. This was supposed to be Rania’s greatest summer: hanging out with her best friend, Fatima, and getting ready for college in the fall. But now, none of that is certain. Now, along with her younger brother, Kamal, and a new friend, Carlos, Rania must figure out how to survive. In this vivid exploration of what happens when the country you have put your hopes into is fast shutting down, award-winning author Marina Budhos shows us how one girl bursting with dreams navigates secrets, love, and the lure of the open road.
Winner of the 2003 Trillium Book Award "Stories are wondrous things," award-winning author and scholar Thomas King declares in his 2003 CBC Massey Lectures. "And they are dangerous." Beginning with a traditional Native oral story, King weaves his way through literature and history, religion and politics, popular culture and social protest, gracefully elucidating North America's relationship with its Native peoples. Native culture has deep ties to storytelling, and yet no other North American culture has been the subject of more erroneous stories. The Indian of fact, as King says, bears little resemblance to the literary Indian, the dying Indian, the construct so powerfully and often destructively projected by White North America. With keen perception and wit, King illustrates that stories are the key to, and only hope for, human understanding. He compels us to listen well.
For fans of All the World and Love, a poetic story that celebrates the littlest things we all need to be happy -- and the beauty of sharing with others when we have more to give. Each bustling day in our busy world, we can take a moment to appreciate the little things. From the simplest essentials like air and water to the wonderful warmth of family, friends, and neighbors, there is so much in life to be thankful for. Kathy Wolff's melodic verse and Margaux Meganck's lush and cozy city scenes follow three families through moments of daily discovery and joy, culminating in a celebration of community and giving. When we have all we need, plus a little to spare, the only need left . . . is to share.
Novelist, playwright, essayist, and master of the short story. Artist and engaged working-class intellectual; husband, father, and grandfather as well as committed revolutionary activist. From his first publication (a short story collection An Old Pub Near the Angel on a tiny American press) through his latest novel (God's Teeth and other Phenomena) and work with Noam Chomsky (Between Thought and Expression Lies a Lifetime—both published on a slightly larger American press), All We Have Is the Story chronicles the life and work—to date—of “Probably the most influential novelist of the post-war period.” (The Times) Drawing deeply on a radical tradition that is simultaneously political, philosophical, cultural, and literary, James Kelman articulates the complexities and tensions of the craft of writing; the narrative voice and grammar; imperialism and language; art and value; solidarity and empathy; class and nation state; and. above all, that it begins and ends with the story. “One of the things the establishment always does is isolate voices of dissent and make them specific—unique if possible. It's easy to dispense with dissent if you can say there's him in prose and him in poetry. As soon as you say there's him, him, and her there, and that guy here and that woman over there, and there's all these other writers in Africa, and then you've got Ireland, the Caribean—suddenly there's this kind of mass dissent going on, and that becomes something dangerous, something that the establishment won't want people to relate to and go Christ, you're doing the same as me. Suddenly there's a movement going on. It's fine when it's all these disparate voices; you can contain that. The first thing to do with dissent is say ‘You're on your own, you're a phenomenon.’ I'm not a phenomenon at all: I'm just a part of what's been happening in prose for a long, long while.” —James Kelman from a 1993 interview
“A riveting and infuriating examination of criminal prosecutions, revealing how easy it is to convict the wrong person and how nearly impossible it is to undo the error.” —Washington Post "No one has illuminated this problem more thoughtfully and persistently." —Bryan Stevenson, author of Just Mercy Jim McCloskey was at a midlife crossroads when he met the man who would change his life. A former management consultant, McCloskey had grown disenchanted with the business world; he enrolled at Princeton Theological Seminary at the age of 37. His first assignment, in 1980, was as a chaplain at Trenton State Prison. Among the inmates was Jorge de los Santos, a heroin addict who'd been convicted of murder years earlier. He swore to McCloskey that he was innocent—and, over time, McCloskey came to believe him. With no legal or investigative training to speak of, McCloskey threw himself into the case. Two years later, thanks to those efforts, Jorge de los Santos walked free, fully exonerated. McCloskey had found his calling. He established Centurion Ministries, the first group in America devoted to overturning wrongful convictions. Together with his staff and a team of forensic experts, lawyers, and volunteers—through tireless investigation and an unflagging dedication to justice—Centurion has freed 65 innocent prisoners who had been sentenced to life or death. When Truth Is All You Have is McCloskey's inspirational story, as well as those of the unjustly imprisoned for whom he has fought. Spanning the nation, it is a chronicle of faith and doubt; of triumphant success and shattering failure. It candidly exposes a life of searching and struggle, uplifted by McCloskey's certainty that he had found what he was put on earth to do. Filled with generosity, humor, and compassion, it is the soul-bearing account of a man who has redeemed innumerable lives—and incited a movement—with nothing more than his unshakeable belief in the truth.
Here is an oral history of the Vietnam War by thirty-three American soldiers who fought it. A 1983 American Book Award nominee.
Communicate more effectively about science—by taking a page from Hollywood and improving your storytelling skills. Ask a scientist about Hollywood, and you’ll probably get eye rolls. But ask someone in Hollywood about science, and they’ll see dollar signs: Moviemakers know that science can be the source of great stories, with all the drama and action that blockbusters require. That’s a huge mistake, says Randy Olson: Hollywood has a lot to teach scientists about how to tell a story—and, ultimately, how to do science better. With Houston, We Have a Narrative, he lays out a stunningly simple method for turning the dull into the dramatic. Drawing on his unique background, which saw him leave his job as a working scientist to launch a career as a filmmaker, Olson first diagnoses the problem: When scientists tell us about their work, they pile one moment and one detail atop another moment and another detail—a stultifying procession of “and, and, and.” What we need instead is an understanding of the basic elements of story, the narrative structures that our brains are all but hardwired to look for—which Olson boils down, brilliantly, to “And, But, Therefore,” or ABT. At a stroke, the ABT approach introduces momentum (“And”), conflict (“But”), and resolution (“Therefore”)—the fundamental building blocks of story. As Olson has shown by leading countless workshops worldwide, when scientists’ eyes are opened to ABT, the effect is staggering: suddenly, they’re not just talking about their work—they’re telling stories about it. And audiences are captivated. Written with an uncommon verve and enthusiasm, and built on principles that are applicable to fields far beyond science, Houston, We Have a Narrative has the power to transform the way science is understood and appreciated, and ultimately how it’s done.