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Lee Konstantinou examines irony in American literary and political life, showing how it migrated from the countercultural margins of the 1950s to the 1980s mainstream. Along the way, irony was absorbed into postmodern theory and ultimately become a target of recent writers who have moved beyond its limitations with a practice of “postirony.”
One of the world's leading cartoon artists shows readers how to capture the retro look of Sponge Bob, Dexter, and other popular comics, revealing how to recapture the 1950s in cartoons.
From The Bad Seed and The Good Egg creators, Jory John and Pete Oswald, comes a story about a dinosaur who loves to ROAR. William the dinosaur likes to roar. At the park?“ROAR.” At the bus stop?“ROAR!” At the farm? You bet. ROARRR! William never lets the chance to roar pass him by, even if others find it rather bothersome. That's until William gets a sore throat and the doctor warns him not to roar for a WHOLE week. But can this overexcited, boisterous, giant lizard not do what dinosaurs are meant to do?! In his humorous and insightful style, Jory John creates an epic story about unapologetically and happily being yourself, no matter the cost. Another side-splitting combination of John’s brilliant text and Pete Oswald’s expressive and lively illustrations, That’s What Dinosaurs Do is a read-aloud that young readers will roar for again and again.
A hilarious collection of overlapping stories that explores the dark zone between artistic ambition and its achievement by the author of Early Work. Bookended by the misadventures of Leslie, an aspiring writer who moves form New York to Missoula, Montana, hoping to shake off lingering depression, this story collection follows young people pushed hard against—and often crashing into—their limits as not only would-be Tolstoys but also functioning, feeling human beings. As Martin’s characters age out of punk shows and all-night benders and into book clubs and elaborate weddings, they find that neither family life nor community ties can quite shore up the dam against despair. Has redemption through art ever been more than a pipe dream? Could writing the perfect sentence ever make such broken lives turn out right? Or is it time to sell the books and head for the barricades? Whatever the case, Andrew Martin’s winsome malcontents can be counted on to make agonized indecision cool again for the twenty-first century. Praise for Cool for America Long-listed for the Story Prize “Fun, irresistible, smart and wise . . . Shot through with flashes of crackling lucidity.” —Nathan Deuel, Los Angeles Times “Simultaneously sharp and self-lacerating and generous and agreeable.” —Matthew Schneier, The New York Times Book Review
When Peter meets Leslie, a sexual adventurer, he gets a glimpse of what he imagines himself to be: a writer of talent and nerve. Over the course of a Virginia summer, their charged, increasingly intimate friendship opens the door to difficult questions about love and literary ambition
Get Shorty’s Chili Palmer is back in Be Cool, a classic novel of suspense from New York Times bestselling author Elmore Leonard. But this time it’s no more Mr. Nice Guy. After a smash hit and a flop, B-movie-producer Chili Palmer is looking for another score. Lunching with a record company executive, Chili's exploring a hot new idea—until the exec, a former "associate" from Chili's Brooklyn days, gets whacked. Segue from real life to reel life. Chili's found his plot. It's a slam-bang opener: the rubout of a record company mogul. Cut to an ambitious wannabe singer named Linda Moon. She has attitude and a band. She's perfect. Zoom in to reality. Linda's manager thinks Chili's poaching and he's out to get even, with the help of his switch-hitting Samoan bodyguard. But somebody else beat them to the punch, as Chili discovers when he gets home and finds a corpse at his desk. Somebody made a mistake...
Jame is a Kencyr. Kencyrs are not native to the planet where they now live. For thirty centuries they have been the weapon that their Three-Faced God has used against the power of the Perimal Darkling. And though they have fought well, the Darkling has come to planet after planet, and the Kencyrs have moved on. Jame knows this as she stumbles out of the hilly, barren Haunted Lands into the city of Tai-tastigon. But she knows little else. She does not remember where she has been or what she has done for the last ten years of her life. Her memory goes back only a week or two¾to finding her home destroyed and all her family dead. In Tai-tastigon Jame begins a new life that seems to be at odds with all that the Kencyrs stand for. Kencyrs are honest and just, but Jame becomes an apprentice to the most renowned thief in the powerful Thieves' Guild. Kencyrs are confirmed monotheists, yet Jame explores the rituals and activities of the thousands of gods, templed and untempled, in this religious center; she even kills a god and then resurrects him. And at the inn, the Res aB'tyrr, where she lives, she finds herself using the most sacred dances of her people, dances she does not even remember learning, for the entertainment and sometimes the destruction of the inn's patrons. Within herself Jame finds power she does not want and doubts she defies her heredity to harbor. She moves through the rich and bloody stew of Tai-tastigon like a hot spice. Her probings, to find herself and to discover what her powers mean to her and her people, combined with influences already at work, very nearly destroy the city. And yet, they bring her face to face with a destiny she must accept. This is the first of several books. At the publisher's request, this title is sold without DRM (Digital Rights Management).
Over the last few decades, character-based criticism has been seen as either naive or obsolete. But now questions of character are attracting renewed interest. Making the case for a broad-based revision of our understanding of character, Character rethinks these questions from the ground up. Is it really necessary to remind literary critics that characters are made up of words? Must we forbid identification with characters? Does character-discussion force critics to embrace humanism and outmoded theories of the subject? Across three chapters, leading scholars Amanda Anderson, Rita Felski, and Toril Moi reimagine and renew literary studies by engaging in a conversation about character. Moi returns to the fundamental theoretical assumptions that convinced literary scholars to stop doing character-criticism, and shows that they cannot hold. Felski turns to the question of identification and draws out its diverse strands, as well as its persistence in academic criticism. Anderson shows that character-criticism illuminates both the moral life of characters, and our understanding of literary form. In offering new perspectives on the question of fictional character, this thought-provoking book makes an important intervention in literary studies.
The groundbreaking story by New York Times best-selling author Ned Vizzini that inspired the Tony-nominated Broadway musical--now adapted in a graphic novel by #1 New York Times best-selling author David Levithan. Jeremy Heere is your average high school dork. Day after day, he stares at beautiful Christine, the girl he can never have, and dryly notes the small humiliations that come his way. Until the day he learns about the "squip." A pill-sized supercomputer that you swallow, the squip is guaranteed to bring you whatever you most desire in life. By instructing him on everything from what to wear, to how to talk and walk, the squip transforms Jeremy from geek to the coolest guy in class. Soon he is friends with his former tormentors and has the attention of the hottest girls in school. But Jeremy discovers that there is a dark side to handing over control of your life--and it can have disastrous consequences.
In The Twilight of the Middle Class, Andrew Hoberek challenges the commonly held notion that post-World War II American fiction eschewed the economic for the psychological or the spiritual. Reading works by Ayn Rand, Ralph Ellison, Saul Bellow, Phillip Roth, Flannery O'Connor, Thomas Pynchon, Don DeLillo, and others, he shows how both the form and content of postwar fiction responded to the transformation of the American middle class from small property owners to white-collar employees. In the process, he produces "compelling new accounts of identity politics and postmodernism that will be of interest to anyone who reads or teaches contemporary fiction. Hoberek argues that despite the financial gains and job security enjoyed by the postwar middle class, the transition to white-collar employment paved the way for its current precarious state in a country marked by increasingly deep class divisions. Postwar fiction provided the middle class with various imaginative substitutes for its former property-owning independence, substitutes that since then have not only allowed but abetted this class's downward mobility. To read this fiction in the light of the middle-class experience is thus not only to restore the severed connections between literary and economic "history in the second half of the twentieth "century, but to explore the roots of the contemporary crisis of the middle class.