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#1 NEW YORK TIMES BESTSELLER • ONE OF TIME MAGAZINE’S 100 BEST YA BOOKS OF ALL TIME The extraordinary, beloved novel about the ability of books to feed the soul even in the darkest of times. When Death has a story to tell, you listen. It is 1939. Nazi Germany. The country is holding its breath. Death has never been busier, and will become busier still. Liesel Meminger is a foster girl living outside of Munich, who scratches out a meager existence for herself by stealing when she encounters something she can’t resist–books. With the help of her accordion-playing foster father, she learns to read and shares her stolen books with her neighbors during bombing raids as well as with the Jewish man hidden in her basement. In superbly crafted writing that burns with intensity, award-winning author Markus Zusak, author of I Am the Messenger, has given us one of the most enduring stories of our time. “The kind of book that can be life-changing.” —The New York Times “Deserves a place on the same shelf with The Diary of a Young Girl by Anne Frank.” —USA Today DON’T MISS BRIDGE OF CLAY, MARKUS ZUSAK’S FIRST NOVEL SINCE THE BOOK THIEF.
This digital edition of DEAD LINES includes a new foreword by David Niall Wilson, as well as an Author's Foreword by Criag Spector, and an Afterword by John Skipp. DEAD LINES is about a young writer/artist type, Jack Rowan, in NYC, whose career never took off. Hs life is in the toilet. He's broken up with his girlfriend and crashing on the couch of his more successful photographer friend, Glen's, loft while Glen is off in LA on a shoot. In the first chapter, Jack finishes his manuscript — a collection of short stories titled NIghtmare NYC — swigs off a bottle of vodka, then boxes the manuscript up, writes DO NOT OPEN UNTIL DOOMSDAY on it, and hides it in a crawlspace in his friend's apartment. Then he walks up a ladder he set up in the living room, puts the rope he knotted to a steam pipe around his neck/ He takes one last swig off the bottle, looks at a photo in his hand of himself and a woman, says, look what you made me do. Then he tosses the bottle and pitches off the ladder. The rope goes taut. Jack's neck snaps as he pinwheels around in mid-air, knocking over the ladder, swinging wildly as he hangs himself. Finally he goes still. His body hangs there for weeks, visible thru the fourth floor windows of the loft… if anyone was looking, which no one is. He remains there until Glen gets back. Glenn freaks out and promptly moves out. The loft is renovated for new tenants — a couple of girls who don't know each other move in. One, Meryl, is from a wealthy family in Boston and trying to escape her overbearing father by going to college at NYU; the other, Katie, is a waitress who used to know Glenn… and Jack. Meryl convinces Katie to pretend to be her roommate to get Meryl's father off her back. At first Katie says no thanks, but then she goes back to her Svengali-esque boyfriend Colin's apartment (where she lives) and finds him in bed with two girls — customers, as Colin is a low level drug dealer and all around scumbag. They fight. Katie shows back up on Meryl's doorstep that night and takes her up on the offer. Meryl is surprised…. she wasn't expecting a roommate for real — but Katie has no place to go, she Meryl lets her crash there. They start to become friends. One night while Meryl is fixing up her room, she finds the box containing Jack's lost manuscript. She starts to read the stories and becomes intrigued with this 'mystery' writer and his dark, brooding, moody vision of the city. What neither Meryl nor Katie realize, is that Jack's soul, upon the moment of his death, literally imploded into the atomic substructure of the apartment — frozen, in a kind of tormented limbo, forever. Until Meryl starts reading his stories… and the sheer energy of her reading his words in bed each night, and fantasizing about him, starts to bring him back. His soul coalesces; bit by bit, awareness and consiousness returns. Suddenly, he's back, and he's Jack — but he's dead, a presence haunting the loft, which is his prison now. But Meryl keeps reading, drawn deeper into his world each night. By day she searches for him in bookstores — but his work has never been published. She see echoes of his images on the streets of the city. She can feel his presence thru his stories. Her nightly fantasies become dreams… and the power of her dreams allows Jack to visit her, succubus-like, a night lover in spirit.
"This book is about dying, not about death. We are always dying a big, always giving things up, always having things taken away. Is there a person alive who isn't really curious about what dying is for them? Is there a person alive who wouldn't like to go to their dying full of excitement, without fear and without morbidity? This books tells you how." -- Front cover.
The Pulitzer Prize-winning tragedy of a salesman’s deferred American dream Ever since it was first performed in 1949, Death of a Salesman has been recognized as a milestone of the American theater. In the person of Willy Loman, the aging, failing salesman who makes his living riding on a smile and a shoeshine, Arthur Miller redefined the tragic hero as a man whose dreams are at once insupportably vast and dangerously insubstantial. He has given us a figure whose name has become a symbol for a kind of majestic grandiosity—and a play that compresses epic extremes of humor and anguish, promise and loss, between the four walls of an American living room. "By common consent, this is one of the finest dramas in the whole range of the American theater." —Brooks Atkinson, The New York Times "So simple, central, and terrible that the run of playwrights would neither care nor dare to attempt it." —Time
"The Masque of the Red Death", originally published as "The Mask of the Red Death: A Fantasy", is an 1842 short story by American writer Edgar Allan Poe. The story follows Prince Prospero's attempts to avoid a dangerous plague, known as the Red Death, by hiding in his abbey. He, along with many other wealthy nobles, hosts a masquerade ballwithin seven rooms of the abbey, each decorated with a different color. In the midst of their revelry, a mysterious figure disguised as a Red Death victim enters and makes his way through each of the rooms. Prospero dies after confronting this stranger, whose "costume" proves to contain nothing tangible inside it; the guests also die in turn. Poe's story follows many traditions of Gothic fiction and is often analyzed as an allegory about the inevitability of death, though some critics advise against an allegorical reading. Many different interpretations have been presented, as well as attempts to identify the true nature of the titular disease. The story was first published in May 1842 in Graham's Magazineand has since been adapted in many different forms, including a 1964 film starring Vincent Price.
Cancer touches everybody’s life in one way or another. But most of us know very little about how the disease works, why we treat it the way we do, and the personalities whose dedication got us where we are today. For fifty years, Dr. Vincent T. DeVita Jr. has been one of those key players: he has held just about every major position in the field, and he developed the first successful chemotherapy treatment for Hodgkin’s lymphoma, a breakthrough the American Society of Clinical Oncologists has called the top research advance in half a century of chemotherapy. As one of oncology’s leading figures, DeVita knows what cancer looks like from the lab bench and the bedside. The Death of Cancer is his illuminating and deeply personal look at the science and the history of one of the world’s most formidable diseases. In DeVita’s hands, even the most complex medical concepts are comprehensible. Cowritten with DeVita’s daughter, the science writer Elizabeth DeVita-Raeburn, The Death of Cancer is also a personal tale about the false starts and major breakthroughs, the strong-willed oncologists who clashed with conservative administrators (and one another), and the courageous patients whose willingness to test cutting-edge research helped those oncologists find potential treatments. An emotionally compelling and informative read, The Death of Cancer is also a call to arms. DeVita believes that we’re well on our way to curing cancer but that there are things we need to change in order to get there. Mortality rates are declining, but America’s cancer patients are still being shortchanged—by timid doctors, by misguided national agendas, by compromised bureaucracies, and by a lack of access to information about the strengths and weaknesses of the nation’s cancer centers. With historical depth and authenticity, DeVita reveals the true story of the fight against cancer. The Death of Cancer is an ambitious, vital book about a life-and-death subject that touches us all.
Adam Silvera reminds us that there’s no life without death and no love without loss in this devastating yet uplifting story about two people whose lives change over the course of one unforgettable day. #1 New York Times bestseller * 4 starred reviews * A School Library Journal Best Book of the Year * A Kirkus Best Book of the Year * A Booklist Editors' Choice * A Bustle Best YA Novel * A Paste Magazine Best YA Book * A Book Riot Best Queer Book * A Buzzfeed Best YA Book of the Year * A BookPage Best YA Book of the Year On September 5, a little after midnight, Death-Cast calls Mateo Torrez and Rufus Emeterio to give them some bad news: They’re going to die today. Mateo and Rufus are total strangers, but, for different reasons, they’re both looking to make a new friend on their End Day. The good news: There’s an app for that. It’s called the Last Friend, and through it, Rufus and Mateo are about to meet up for one last great adventure—to live a lifetime in a single day. In the tradition of Before I Fall and If I Stay, They Both Die at the End is a tour de force from acclaimed author Adam Silvera, whose debut, More Happy Than Not, the New York Times called “profound.” Plus don't miss The First to Die at the End: #1 New York Times bestselling author Adam Silvera returns to the universe of international phenomenon They Both Die at the End in this prequel. New star-crossed lovers are put to the test on the first day of Death-Cast’s fateful calls.
As a pediatric surgeon, Catherine Musemeche operates on the smallest of human beings, manipulates organs the size of walnuts, and uses sutures as thin as hairs to resolve matters of life or death. Working in the small space of a premature infant's chest or abdomen allows no margin for error. It is a world rife with emotion and risk. Small takes readers inside this rarefied world of pediatric medicine, where children and newborns undergo surgery to resolve congenital defects or correct the damages caused by accidents and disease. It is an incredibly high-stakes endeavor, nerve-wracking and fascinating. Small: Life and Death on the Front Lines of Pediatric Surgery is a gripping story about a still little-known frontier. In writing about patients and their families, Musemeche recounts the history of the developing field of pediatric surgery--so like adult medicine in many ways, but at the same time utterly different. This is a field guide to the state of the art and science of operating on the smallest human beings, the hurts and maladies that afflict them, and the changing nature of medicine in America today, told by an exceptionally gifted surgeon and writer.
Ring, ring. You’re dead.
#1 NEW YORK TIMES BESTSELLER • A special 25th anniversary edition of the beloved book that has changed millions of lives with the story of an unforgettable friendship, the timeless wisdom of older generations, and healing lessons on loss and grief—featuring a new afterword by the author “A wonderful book, a story of the heart told by a writer with soul.”—Los Angeles Times “The most important thing in life is to learn how to give out love, and to let it come in.” Maybe it was a grandparent, or a teacher, or a colleague. Someone older, patient and wise, who understood you when you were young and searching, helped you see the world as a more profound place, gave you sound advice to help you make your way through it. For Mitch Albom, that person was his college professor Morrie Schwartz. Maybe, like Mitch, you lost track of this mentor as you made your way, and the insights faded, and the world seemed colder. Wouldn’t you like to see that person again, ask the bigger questions that still haunt you, receive wisdom for your busy life today the way you once did when you were younger? Mitch Albom had that second chance. He rediscovered Morrie in the last months of the older man’s life. Knowing he was dying, Morrie visited with Mitch in his study every Tuesday, just as they used to back in college. Their rekindled relationship turned into one final “class”: lessons in how to live. “The truth is, Mitch,” he said, “once you learn how to die, you learn how to live.” Tuesdays with Morrie is a magical chronicle of their time together, through which Mitch shares Morrie’s lasting gift with the world.