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Evil comes in frightening and familiar forms in this terrifying novel from #1 New York Times bestselling author Dean Koontz. Once there was a girl who ran away and joined a traveling carnival. She married a man she grew to hate—and gave birth to a child she could never love. A child so monstrous that she killed it with her own hands... Twenty-five years later, Ellen Harper has a new life, a new husband, and two normal children—Joey loves monster movies and Amy is about to graduate from high school. But their mother drowns her secret guilt in alcohol and prayer. The time has come for Amy and Joey to pay for her sins, because the carnival is coming back to town...
In contrast to recent attempts to distinguish postmodernism from poststructuralism, Death in the FUNhouse finds deep complicity between the two discourses. This book looks comprehensively at the middle and late texts of John Barth to demonstrate the complexity of the postmodern author - and the never-ending quest for pleasure.
DIVA high schooler suspects that a tragic roller coaster crash wasn’t an accident/div DIVIf it weren’t for the Boardwalk, the small town of Santa Luisa might disappear altogether. The amusement park employs half the town’s workers, pulls in tourists, and gives teenagers like Tess Landers someplace to hang out on the weekends. Tess is eating a hot dog when the Boardwalk’s roller coaster—the Devil’s Elbow—jumps the track, hangs for a moment in the air, and then plummets to the ground. One of Tess’s classmates is dead on impact, two are forever maimed, and over twenty others are taken to the hospital. It’s the worst tragedy Santa Luisa has ever seen, but it’s only the beginning./divDIV /divDIVAs people rush to help, Tess spies a black-suited figure running away from the crowd. The crash was no accident. Five more teens will suffer before the killer is through, and Tess may be about to put herself on the list of victims./divDIV /divDIVThis ebook features an illustrated biography of Diane Hoh including rare photos and never-before-seen documents from the author’s personal collection./div
A fresh and brilliantly told memoir from a cult favorite comic artist, marked by gothic twists, a family funeral home, sexual angst, and great books. This breakout book by Alison Bechdel is a darkly funny family tale, pitch-perfectly illustrated with Bechdel's sweetly gothic drawings. Like Marjane Satrapi's Persepolis, it's a story exhilaratingly suited to graphic memoir form. Meet Alison's father, a historic preservation expert and obsessive restorer of the family's Victorian home, a third-generation funeral home director, a high school English teacher, an icily distant parent, and a closeted homosexual who, as it turns out, is involved with his male students and a family babysitter. Through narrative that is alternately heartbreaking and fiercely funny, we are drawn into a daughter's complex yearning for her father. And yet, apart from assigned stints dusting caskets at the family-owned "fun home," as Alison and her brothers call it, the relationship achieves its most intimate expression through the shared code of books. When Alison comes out as homosexual herself in late adolescense, the denouement is swift, graphic -- and redemptive.
One evening, spying on his Hollywood Hills neighbours through his $4,000 electronic telescope, Bobby witnesses a beautiful woman making love to a handsome Latin actor called Ramon. As their pillow talk turns ugly, Bobby watches in horror as the woman appears to bludgeon her lover to death with his own acting trophy. Instead of rushing to the cops, Bobby decides to find out more about the events that led up to the crime, and to use the material for his next movie screenplay. However, when he sneaks into the actor's apartment, the discovery he makes changes his life forever. Empowered by his secret knowledge, Bobby is able to seduce the beautiful woman, while forging a unique friendship with Detective Dennis Farentino, the cop in charge of the investigation. Before long Bobby has dragged the detective, his wife, his lover, and his agent into a Hollywood fun-house hall of mirrors, where only the most manipulative player will survive.
"A critical overview of the writing of David Foster Wallace, taking his persistent interests in philosophy, language and plurality as points of departure"--
NATIONAL BOOK AWARD FINALIST • John Barth's lively, highly original collection of short pieces is a major landmark of experimental fiction exploring themes of purpose and the meaning of existence. "[Barth] ran riot over literary rules and conventions, even as he displayed, with meticulous discipline, mastery of and respect for them." —The New York Times From its opening story, "Frame-Tale"--printed sideways and designed to be cut out by the reader and twisted into a never-ending Mobius strip--to the much-anthologized "Life-Story," whose details are left to the reader to "fill in the blank," Barth's acclaimed collection challenges our ideas of what fiction can do. Highlights include the Homerian story-wthin-a-story-within-a-story (times seven) of "Menalaiad,' and "Night-Sea Journey," a first-person account of a confused human sperm on its way to fertilize an egg. All of the characters in Lost in the Funhouse are searching, in one way or another, for their purpose and the meaning of their existence. Together, their stories form a kaleidescope of exuberant metafictional inventiveness.
Death is a roller coaster. The traveling carnival has made its stop in Sinful and everyone is ready for thrilling rides, challenging games, and most importantly, funnel cake. But when a man is murdered in the funhouse and Emmaline LeBlanc is knocked unconscious so the killer can escape, the good times are over. Carter is beside himself wanting to hunt down the man responsible for putting his mother in the hospital, but he can’t investigate when he’s related to one of the victims. Palmer Reed was well known as a boy by most everyone in Sinful for being a sneak, a liar, and sometimes a thief. As an adult, he continued his reign of underachieving and mostly making people angry wherever he went. Now he’s a state police detective and is assigned to the case, but Fortune knows that to get Carter the answers he needs, Swamp Team 3 has to take on the investigation. As they dig deep into the confusion and lies that surround the murder, they uncover a secret that could devastate Carter and Emmaline, but Fortune is determined to discover the truth…whatever that may be.
Sergio Kokis recreates the magic world of a child in Brazil, told from the point of view of a Brazilian painter in exile.
Tobe Hooper's productions, which often trespassed upon the safety of the family unit, cast a critical eye toward an America in crisis. Often dismissed by scholars and critics as a one-hit wonder thanks to his 1974 horror classic The Texas Chain Saw Massacre, Hooper nevertheless was instrumental in the development of a robust and deeply political horror genre from the 1960s until his death in 2017. In American Twilight, the authors assert that the director was an auteur whose works featured complex monsters and disrupted America’s sacrosanct perceptions of prosperity and domestic security. American Twilight focuses on the skepticism toward American institutions and media and the articulation of uncanny spaces so integral to Hooper’s vast array of feature and documentary films, made-for-television movies, television episodes, and music videos. From Egg Shells (1969) to Poltergeist (1982), Djinn (2013), and even Billy Idol’s music video for “Dancing with Myself” (1985), Tobe Hooper provided a singular directorial vision that investigated masculine anxiety and subverted the idea of American exceptionalism.