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"Destined from birth to serve as protector of the princess Zariya, Khai is trained in the arts of killing and stealth by a warrior sect in the deep desert; yet there is one profound truth that has been withheld from him"--Book jacket.
This is a dystopian social science fiction novel and morality tale. The novel is set in the year 1984, a fictional future in which most of the world has been destroyed by unending war, constant government monitoring, historical revisionism, and propaganda. The totalitarian superstate Oceania, ruled by the Party and known as Airstrip One, now includes Great Britain as a province. The Party uses the Thought Police to repress individuality and critical thought. Big Brother, the tyrannical ruler of Oceania, enjoys a strong personality cult that was created by the party's overzealous brainwashing methods. Winston Smith, the main character, is a hard-working and skilled member of the Ministry of Truth's Outer Party who secretly despises the Party and harbors rebellious fantasies.
NEW YORK TIMES BESTSELLER • From the governor of Maryland, the “compassionate” (People), “startling” (Baltimore Sun), “moving” (Chicago Tribune) true story of two kids with the same name: One went on to be a Rhodes Scholar, decorated combat veteran, White House Fellow, and business leader. The other is serving a life sentence in prison. The chilling truth is that his story could have been mine. The tragedy is that my story could have been his. In December 2000, the Baltimore Sun ran a small piece about Wes Moore, a local student who had just received a Rhodes Scholarship. The same paper also ran a series of articles about four young men who had allegedly killed a police officer in a spectacularly botched armed robbery. The police were still hunting for two of the suspects who had gone on the lam, a pair of brothers. One was named Wes Moore. Wes just couldn’t shake off the unsettling coincidence, or the inkling that the two shared much more than space in the same newspaper. After following the story of the robbery, the manhunt, and the trial to its conclusion, he wrote a letter to the other Wes, now a convicted murderer serving a life sentence without the possibility of parole. His letter tentatively asked the questions that had been haunting him: Who are you? How did this happen? That letter led to a correspondence and relationship that have lasted for several years. Over dozens of letters and prison visits, Wes discovered that the other Wes had had a life not unlike his own: Both had had difficult childhoods, both were fatherless; they’d hung out on similar corners with similar crews, and both had run into trouble with the police. At each stage of their young lives they had come across similar moments of decision, yet their choices would lead them to astonishingly different destinies. Told in alternating dramatic narratives that take readers from heart-wrenching losses to moments of surprising redemption, The Other Wes Moore tells the story of a generation of boys trying to find their way in a hostile world.
A beautifully packaged edition of one of García Márquez's most beloved novels, with never-before-seen color illustrations by the Chilean artist Luisa Rivera and an interior design created by the author's son, Gonzalo García Barcha. In their youth, Florentino Ariza and Fermina Daza fall passionately in love. When Fermina eventually chooses to marry a wealthy, well-born doctor, Florentino is devastated, but he is a romantic. As he rises in his business career he whiles away the years in 622 affairs—yet he reserves his heart for Fermina. Her husband dies at last, and Florentino purposefully attends the funeral. Fifty years, nine months, and four days after he first declared his love for Fermina, he will do so again.
Couldn't get enough of Love, Simon or Red, White and Royal Blue? This is the (slightly NSFW) book for you! 'Jack of Hearts might be the most important queer novel of the decade' Gay Times 'Jack of Hearts won my heart' Courtney Act 'This book is filth' Julian Clary --------------- 'My first time getting it in the butt was kind of weird. I think it's going to be weird for everyone's first time, though.' Meet Jack Rothman. He's seventeen and loves partying, makeup and boys - sometimes all at the same time. His sex life makes him the hot topic for the high school gossip machine. But who cares? Like Jack always says, 'it could be worse'. He doesn't actually expect that to come true. But after Jack starts writing an online sex advice column, the mysterious love letters he's been getting take a turn for the creepy. Jack's secret admirer knows everything: where he's hanging out, who he's sleeping with, who his mum is dating. They claim they love Jack, but not his unashamedly queer lifestyle. They want him to curb his sexuality, or they'll force him. As the pressure mounts, Jack must unmask his stalker before their obsession becomes genuinely dangerous... Praise for Jack of Hearts (and Other Parts) 'The affirming, sex-positive, brilliant new book that puts the "adult" into young adult literature' Attitude 'Humane, sex-positive writing of the funniest, filthiest and most heartening kind' The Guardian
James L. Machor offers a sweeping exploration of how American fiction was received in both public and private spheres in the United States before the Civil War. Machor takes four antebellum authors—Edgar Allan Poe, Herman Melville, Catharine Sedgwick, and Caroline Chesebro'—and analyzes how their works were published, received, and interpreted. Drawing on discussions found in book reviews and in private letters and diaries, Machor examines how middle-class readers of the time engaged with contemporary fiction and how fiction reading evolved as an interpretative practice in nineteenth-century America. Through careful analysis, Machor illuminates how the reading practices of nineteenth-century Americans shaped not only the experiences of these writers at the time but also the way the writers were received in the twentieth century. What Machor reveals is that these authors were received in ways strikingly different from how they are currently read, thereby shedding significant light on their present status in the literary canon in comparison to their critical and popular positions in their own time. Machor deftly combines response and reception criticism and theory with work in the history of reading to engage with groundbreaking scholarship in historical hermeneutics. In so doing, Machor takes us ever closer to understanding the particular and varying reading strategies of historical audiences and how they impacted authors’ conceptions of their own readership.