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Author/poet/journalist Gabriel Hart compresses twenty pieces of his most irreverent 'world-burning' fiction spanning 2015-2020, including the previously unpublished novelette-length American nightmare Skattertown. "Gabriel Hart is hands down one of the most energetic writers out there. In fact, I'm hard-pressed to name one besides Hunter S. Thompson off the top of my head that could crank out line after line of insightful, muscular, serpentine prose and make it look so easy. And Hart's energy isn't only apparent because he's a musician, a journalist, a fiction writer, and a poet whose seemingly tireless productivity is tough to keep up, but because the words he lays down--no matter the form or genre--are highly charged and consistently propulsive. Always. Without fail. I have yet to read a paragraph or stanza or sentence of his that I haven't reread multiple times simply out of reverence for the skill on display." -- William S. Soldan, author of In Just the Right Light
Millions murdered . . . Millions raped . . . Millions tortured . . . Millions enslaved . . . Millions of men, women and children cast to the winds.No matter what you have read about the Second World War, no matter what you have been told about it, no matter what you believe happened during the so-called "Good War" . . . forget it!Now, for the first time in over 70 years, learn what the war and "peace" looked like to those who lost.Discover what was done to Germany and her people in the name of "freedom, democracy, and liberation."In their own words, in graphic detail, this is their story . . .
FBI Special Agent Ana Grey returns in this psychologically acute, completely and unstoppably suspenseful thriller from April Smith. A fifteen-year-old girl has been abducted and Ana Grey is sent to investigate. When the girl reappears, completely traumatized, Ana realises she is far too emotionally invested in the case. She can no longer separate her own life from the victim's. And if the situation wasn't already sufficiently disturbing, her partner on the investigation is Andrew Berringer, her on-again, off-again lover. As her personal and professional lives converge, Ana reaches a breaking point. She no longer knows who she can trust, no even Berringer, and in a moment of anger fires her gun. Suddenly more than just the case is on the line--it's her whole career.
An office worker hopes a new drug will remedy her toxic personal life... A food blogger moonlights as a detective to give meaning to his gluttony... A rehabbed addict proselytizes with an increasingly bizarre methodology... Lovesick strangers try to heal through a dating app that promises a unique form of catharsis... A quarantined man starts having vivid dreams he's convinced aren't his own... At a party where everyone's "somebody" the crowd grows feverishly reverential of one guest's anonymity... In the prescient world of 'The Cult in My Garage', the characters are desperate for meaning and hungry for connection. Time and again, their attempts at betterment snowball into disaster or backfire spectacularly. And yet they still find ways to dust themselves off and salvage meaning.
Original publication and copyright date: 2009.
How to Walk with Steve is a memoir of a boy's connection with his autistic brother in a family defined by alcoholism, art, and death in a decaying Midwestern city. With exposed-nerve scenes, Robert Fromberg immerses us in an early childhood made relentlessly unpredictable by autism and addiction; teenage years alone in 1970s New York City; and young adulthood as guardian of his brother after the death of their parents.
In a purgatory at the banks of the Hiwasee River in Southeastern Tennessee, two teenagers—the garrulous John Stone and the young Jenny Evenene—barrel through an endless night in a Firebird Trans Am. Jenny wakes each morning, the same morning, and chronicles the events of her final day, her memory reaching back into the recesses of mythical time, recollecting cosmogonies, eschatologies, and metamorphoses that mingle with the details of her violent end. As the two heroes drive through the night, drinking cold American beer and listening to the soothing tunes of the country music station, the dramatis personae of the process of decomposition encroach upon them from the darkness beyond the headlights: the turkey vultures that soar above them, baited by decaying corpses, are at once the successors of the sacred buzzard whose talons first massaged the earth into being and the double of the screaming chicken emblazoned on the hood of the Firebird, which is itself at once the illustrious automobile of teenage dreams, vehicle of transmigrating souls, and ancient phoenix, millennial sigil of the sun, of biochemical resurrections, and Heraclitean thunderbolt who steers all things.
"In the freewheeling, debaucherous tradition of Charles Bukowski, a taxi driver's stories from the streets of lowlife Los Angeles. Dan Fante lived the stories he wrote. His voice has the immediacy of a stranger of the next barstool, of a friend who lives on the edge. As he writes in Short Dog (the title comes from street slang for a half-pint of alcohol): I had been back working a cabbie gig as a result of my need for money. And insanity. Hack driver is the only occupation I know about with no boss, and because I have always performed poorly at supervised employment, I returned to the taxi business. The upside, now that I was working again, was that my own boozing was under control and I was on beer only, except for my days off.s"--
New York City, 1990:When you slip through the cracks, no one is there to catch you. Monique learns that the hard way after her girlfriend Donna vanishes without a trace. Only after the disappearances of several other impoverished women does Monique hear the rumors. A taloned monster stalks the city's underground and snatches victims into the dark.Donna isn't missing. She was taken.To save the woman she loves, Monique must descend deeper than the known underground, into a subterranean world of enigmatic cultists and shadowy creatures. But what she finds looms beyond her wildest fears-a darkness that stretches from the dawn of time and across the stars.
A screenplay that predicts the future. A terrorist cult destined to destroy something they can't remember. A projectionist trying to find her way through a story she's suddenly aware she's living. A loser who always seems to be in the wrong place at the right time. And the disparate particles and people populating a slowly-collapsing, not-so-far-from-now world where movie theaters no longer exist, one percent of the population is dead, and everything we do is surveilled and advertised. This is Sunflower -- the final film by Simeon Wolpe. Readers of Sunflower, Tex Gresham's brilliant new novel, will probably find themselves thinking of Gravity's Rainbow, House of Leaves, and Infinite Jest. But in truth, Sunflower is something else, a beast with its own distinct brand of madness. Bluntly satirical of Trump-era politics, Sunflower takes you on an acid trip disguised as a conspiracy theory, working with equal skill in realist, absurdist, and metafictional modes to make sure you're lost in a funhouse you won't want to leave. In Gresham's fictional universe, the world might end while you're watching a movie about the end of the world, and maybe you wrote the script or maybe your double wrote the script, and even if the theater is filled with people who won't hesitate to blow your brains out if you laugh at all the wrong moments, it won't make any difference, since the book is filled with all the right moments. --Stephen-Paul Martin, author of The Ace of Lightning If a bodybuilder were to astral project herself into both Werner Herzog's cameraman/cinematography and Middlemarch, it would produce a morbidly rakish sunflower of the same heliotropic anti- equivalent as Tex Gresham's Sunflower. And, if an intern were to work in Gresham's library of chapters and deleted scenes, it would confuse The Library of Congress for Netflix. -Vi Khi Nao, author of Fish In Exile and The Vegas Dilemma Tex Gresham has blurred the line between satirical deconstruction of postmodern novels and sentimental love letters to cinema. Simultaneously hilarious and heartbreaking, Sunflower is an intricate mystery that will leave readers seeking to mend their broken relationships and their humanity through a shared fondness for the silver screen. Sunflower is this summer's biggest literary blockbuster hit! You'll laugh. You'll cry. You'll dissolve. --Dan Eastman, author of Watertown Sunflower is virtuosic, gargantuan, totally unafraid. Experimental and wild, beautiful and heartbreaking, serious and hilarious--I think Tex is here to stay. --Lindsay Lerman, author of I'm From Nowhere and What Are You If Paul Thomas Anderson wrote a novel based on a film by David Foster Wallace with a screenplay by Thomas Pynchon about dark Hollywood, mind-bending conspiracy, the slapstick horror of America and sheer insanity of existence, these would be some in a long line of flavors the sum total of which might come partway to encapsulating Sunflower. Hilarious, repulsive, enthralling, shocking, breathtaking, masterful-Tex Gresham's magnum opus is a novel you will use all your adjectives attempting to describe; a dense, multi-character tale in which each place and person, every moment and word, are connected through myriad layers across space and time. The effect is staggering. This book will swallow you whole then spit you back out, dazed, bewildered, transformed-hungering for more. --Philip Elliot, author of Nobody Move and Porno Valley I've tried to make Sunflower into a feature--not a Netflix series--and people called me a moron. So the least I can do is say, "Read this book and imagine it as a really good movie that I would make." Because it's so good that I wanted to make it into a movie--not a Netflix series. --Alan Smithee, legendary Hollywood direct