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The early twenty-first century has seen a sharp rise in Black US poets employing the mask of persona, often including and interrogating archival materials as they do so. While some have observed this rise and noted its connection to historical figures, Ryan Sharp explores it more deeply, as a project-based historical and poetic practice. Sharp examines its sustained use of historical persona and capacity for conjuring Black speakers as a countermeasure against the archival silencing and misrepresentation of Black voices and histories—a tactic he theorizes as poetic fabulation—through the poetry of Elizabeth Alexander, Cornelius Eady, Adrian Matejka, Patricia Smith, Natasha Trethewey, and Frank X Walker. This poetic practice is not only about looking back but about critically and creatively (re)imagining the past to expand the possibilities for Black presents and futures. Through his argument, Sharp demonstrates how the unique aesthetic and rhetorical license afforded to poetry, along with the interiority of persona, empowers such historically minded projects to be concurrently invested in the curation of Black narratives and identities.
The #1 New York Times bestselling author of Ghost Story brings the chilling Blue Rose Trilogy to an astonishing close—secrets unearthed, demons revisited, and mysteries solved. • “A masterpiece…. The most intelligent novel of suspense to come along in years.” —The Washington Post Book World Tim Underhill, now an acclaimed novelist, travels back to his hometown of Millhaven, Illinois after he gets a call from John Ransom, an old army buddy. Ransom believes there’s a copycat killer on the loose, mimicking the Blue Rose murders from decades earlier—he thinks his wife could be a potential victim. Underhill seeks out his old friend Tom Pasmore, an aging hermit who has attained minor celebrity as an expert sleuth, to help him investigate. They quickly discover that Millhaven is a town plagued by horrifying secrets and there is a twisted killer on the loose who is far more dangerous than they ever imagined. Expertly tying together the events of Koko and Mystery, The Throat proves Peter Straub to be the master of the suspense novel.
An Post Irish Book Awards Nonfiction Book of the Year • A Guardian Best Book of 2020 • Shortlisted for the 2021 Rathbones Folio Prize • Longlisted for the 2021 Republic of Consciousness Prize • Winner of the James Tait Black Biography Prize • A New York Times New & Noteworthy Title • Longlisted for the 2021 Gordon Burn Prize • A Buzzfeed Recommended Summer Read • A Publishers Weekly Best Book of 2021 • A Book Riot Best Book of 2022 • An NPR Best Book of 2021 • A Chicago Public Library Best Book of 2021 • A Globe and Mail Book of the Year • A Winnipeg Free Press Top Read of 2021 • An Entropy Magazine Best of the Year • A LitHub Best Book of 2021 • A New York Times Critics' Top Book of 2021 • A National Book Critics Circle Award Finalist When we first met, I was a child, and she had been dead for centuries. On discovering her murdered husband’s body, an eighteenth-century Irish noblewoman drinks handfuls of his blood and composes an extraordinary lament. Eibhlín Dubh Ní Chonaill’s poem travels through the centuries, finding its way to a new mother who has narrowly avoided her own fatal tragedy. When she realizes that the literature dedicated to the poem reduces Eibhlín Dubh’s life to flimsy sketches, she wants more: the details of the poet’s girlhood and old age; her unique rages, joys, sorrows, and desires; the shape of her days and site of her final place of rest. What follows is an adventure in which Doireann Ní Ghríofa sets out to discover Eibhlín Dubh’s erased life—and in doing so, discovers her own. Moving fluidly between past and present, quest and elegy, poetry and those who make it, A Ghost in the Throat is a shapeshifting book: a record of literary obsession; a narrative about the erasure of a people, of a language, of women; a meditation on motherhood and on translation; and an unforgettable story about finding your voice by freeing another’s.
Seventeen-year-old Emma, having always felt cursed by her epilepsy, comes to realize that it is this very condition that saves her when she is mysteriously attacked and left with all the powers but none of the limitations of a vampire.
NATIONAL BESTSELLER • A debut collection of witty, biting essays laced with a surprising warmth, from Jen Mann, the writer behind the popular blog People I Want to Punch in the Throat People I want to punch in the throat: • anyone who feels the need to bling her washer and dryer • humblebraggers • people who treat their pets like children Jen Mann doesn’t have a filter, which sometimes gets her in trouble with her neighbors, her fellow PTA moms, and that one woman who tried to sell her sex toys at a home shopping party. Known for her hilariously acerbic observations on her blog, People I Want to Punch in the Throat, Mann now brings her sharp wit to bear on suburban life, marriage, and motherhood in this laugh-out-loud collection of essays. From the politics of joining a play group, to the thrill of mothers’ night out at the gun range, to the rewards of your most meaningful relationship (the one you have with your cleaning lady), nothing is sacred or off-limits. So the next time you find yourself wearing fuzzy bunny pajamas in the school carpool line or accidentally stuck at a co-worker’s swingers party, just think, What would Jen Mann do? Or better yet, buy her book. Praise for People I Want to Punch in the Throat “People I Want to Punch in the Throat is so good that it’ll make you want to adopt all the cats in the world. I’m not sure about the correlation, but it’s that good. It should come with a warning.”—Jenny Lawson, author of Let’s Pretend This Never Happened “Jen Mann has an amazing way of telling stories that will make you cringe and burst out laughing at the same time. From swinger parties to racist toddlers, she makes the suburbs unbelievably funny.”—Karen Alpert, author of I Heart My Little A-Holes “Jen Mann says the things we’re all too afraid to say. Her honest and hilarious writing style reminds me of David Sedaris and Tina Fey.”—Robin O’Bryant, author of Ketchup Is a Vegetable: And Other Lies Moms Tell Themselves “Jen Mann’s shrewd and unrelenting assault on the absurdity of suburban life is an honest peek into the occasional nightmare that is part of living the American dream. I love Jen. I wish she was my neighbor. It’s so refreshing to know that I’m not the only one who wants to punch almost everyone in the f***ing throat.”—Nicole Knepper, author of Moms Who Drink And Swear
It wasn’t too long ago that people tried all sorts of things to help sick people feel better. They tried wild things like drinking a glass full of millipedes or putting some mustard on one's head. Some of the cures worked, and some of them…well, let’s just say that millipedes, living or dead, are not meant to be ingested. Carlyn Beccia takes readers on a colorful and funny medical mystery tour to discover that while times may have changed, many of today’s most reliable cure-alls have their roots in some very peculiar practices, and so relevant connections can be drawn from what they did then to what we do now.
The acclaimed first novel by the New York Times bestselling author of Kitchen Confidential and host of Parts Unknown on CNN. A wildly funny, irreverent tale of murder, mayhem, and the mob. When up-and-coming chef Tommy Pagana settles for a less than glamorous stint at his uncle's restaurant in Manhattan's Little Italy, he unwittingly finds himself a partner in big-time crime. And when the mob decides to use the kitchen for a murder, nothing Tommy learned in cooking school has prepared him for what happens next. With the FBI on one side, and his eccentric wise-guy superiors on the other, Tommy has to struggle to do right by his conscience, and to avoid getting killed in the meantime. In the vein of Prizzi's Honor, Bone in the Throat is a thrilling Mafia caper laced with entertaining characters and wry humor. This first novel is a must-have for fans of Anthony Bourdain's nonfiction.
Patients don't present with a disease; they present with symptoms. Using a practical, symptom-based organization, Nelson Pediatric Symptom-Based Diagnosis: Common Diseases and their Mimics, 2nd Edition, offers authoritative guidance on differential diagnosis and treatment of diseases and disorders in children and adolescents, and covers the symptoms you're likely to see in practice, their mimics, and uncommon disorders. Drs. Robert M. Kliegman, Heather Toth, Brett J. Bordini, and Donald Basel walk you through what to consider and how to proceed when faced with common symptoms such as cough, fever, headache, autistic-like behaviors, chronic pain, chest pain, gait disturbances, and much more. - Begins with a presenting symptom and leads you through differential diagnosis and a concise review of treatment recommendations. - Contains more than a dozen new topics including Disease Mimics: An Approach to Undiagnosed Diseases, Autistic-like Behaviors, Shock, Hypertension, Neurocognitive and Developmental Regression, Chronic Pain, Hypertonicity, Movement Disorders, Hypermobility, and more. - Features a new focus on symptoms of rarer diseases that are mimics of more common diseases. - Offers a user-friendly approach to Altered Mental Status such as coma and other CNS disorders, with numerous clinically useful tables and figures to guide clinical decision making in various care settings. - Uses a highly templated format for easy reference and quick answers to clinical questions, with the same consistent presentation in each chapter: History, Physical Examination, Diagnosis (including laboratory tests), Imaging, Diagnosis, and Treatment. - Includes numerous full-color illustrations, algorithms, tables, and "red flags" to aid differential diagnosis. - Serves as an ideal companion to Nelson Textbook of Pediatrics, 21st Edition. Content in this book is referenced and linked electronically to the larger text, providing easy access to full background and evidence-based treatment and management content when you own both references.
Aaron Kunin believes that the part of yourself that you're most ashamed of is interesting and can be used as material for art. The poems of The Sore Throat, his second collection, come out of self-imposed semiotic limitation, yet manifest a fully inhabited psychological environment. Working with a limited vocabulary--200 words derived from a nervous habit of transcription--and with specific source texts--Ezra Pound's "Hugh Selwyn Mauberley" and Maurice Maeterlinck's play Pelleas et Melisande--Kunin takes hymn, epigram, ode, elegy, ballad, conversation, invective, confession, epitaph, inability, protest, love poem, (praise, valentine, aubade, seduction, defense of inconstancy), riddle, cosmogony, theodicy, vanity, and misplaced concreteness among his modes d'emploi. Combining rigorous formal procedure with a kind of automatic writing, The Sore Throat produces poems of unlikely, and heightened, sensitivity to nuances of feeling.
“A remarkably entertaining and thought-provoking look at the human voice and all of its myriad functions and sounds . . . Wonderful” (Library Journal, starred review). From Farinelli, the eighteenth-century castrato who brought down opera houses with his high C, to the recording of Johnny B. Goode affixed to the Voyager spacecraft, Let Me Clear My Throat dissects the whys and hows of popular voices, making them hum with significance and emotion. There are murders of punk rock crows, impressionists, and rebel yells; Howard Dean’s “BYAH!” and Marlon Brando’s “Stellaaaaa!” and a stock film yawp that has made cameos in movies from A Star is Born to Spaceballs. The voice is thought’s incarnating instrument and Elena Passarello’s essays are a riotous deconstruction of the ways the sounds we make both express and shape who we are—the annotated soundtrack of us giving voice to ourselves. “Standout pieces include a biography of the most famous scream in Hollywood history; a breakdown of the relationship between song and birdsong; and an analysis of the sounds of disgust. Akin to: A dinner party at which David Sedaris, Mary Roach and Marlon Brando are trying to out-monologue one another.” —Philadelphia Weekly “The beauty of Ellen Passarello’s voice is that it’s so confidently its own . . . I began randomly with her essay wondering what the space aliens will make of ‘Johnny B. Goode’ on the Voyager gold record and couldn’t stop after that.” —John Jeremiah Sullivan, author of Pulphead