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Detective Matt Cordell was happily married once, and gainfully employed, and sober. But that was before he caught his wife cheating on him with one of his operatives and took it out on the man with the butt end of a .45. Now Matt makes his home on the streets of New York and his only companions are the city’s bartenders. But trouble still knows how to find him, and when Johnny Bridges shows up from the old neighborhood, begging for Matt’s help, Cordell finds himself drawn into a case full of beautiful women and bloody murder. It’s just like the old days – only this time, when the beatings come, he may wind up on the receiving end...
From the New York Times bestselling author of the Night Huntress series comes a thrilling new look at the iconic origin story of Cat and Bones, as experienced by Bones...from the other half of the grave. There are two sides to every story–and the sizzling British alpha vampire, Bones, has a lot to say... Ever wondered what Bones was thinking and feeling when he and half-vampire Cat Crawfield first met? Or how their story might differ if he were the one telling it? Now, relive the beginning of Cat and Bones' bestselling love story through Bones' point of view, which reveals a darker, sexier take on their early days, as well as a deeper dive into Bones' past, the vampire world, and other things that Cat didn't see when their story was told only through her eyes in Halfway to the Grave. Cat had her say. Now, it's Bones' turn.
One of the most prolific crime writers of the last century, Evan Hunter published more than 120 novels from 1952 to 2005 under a variety of pseudonymns. He also wrote several teleplays and screenplays, including Alfred Hitchcock's The Birds, and the 1954 novel The Blackboard Jungle. When the Mystery Writers of America named Hunter a Grand Master, he gave the designation to his alter ego, Ed McBain, best known for his long-running police procedural series about the detectives of the 87th Precinct. This comprehensive companion provides detailed information about all of Evan Hunter's/Ed McBain's works, characters, and recurring themes. From police detective and crime stories to dramatic novels and films, this reference celebrates the vast body of literature of this versatile writer.
Home repair can be murder. Jacobia Tiptree and her teenage son are used to their Eastport, Maine, home attracting more than its share of houseguests. This year Jake is hoping the plaster dust will keep them away while she finally gets her gem of a fixer-upper into shape — from doorknobs and chandeliers to leaky pipes to ghostly phenomena. But when the charming and mysterious Jonathan Raines appears on her doorstep — and then just as suddenly disappears — remodeling the house becomes the least of Jake’s problems. Could Jonathan’s disappearance have something to do with his quest for a cursed violin — the one that local legend says was hidden by a long-ago owner of Jake’s house before he too vanished without a trace? Soon Jonathan’s grief-stricken girlfriend arrives downeast, and Jake needs to strip Eastport’s past of its idyllic veneer — before a killer paints her very dead indeed!
A feminist paean to perversity: on remaking intimacy outside the Republic of Gender. Seasonal begins writing sentences and thinking thoughts they never thought possible. They want to give László the pleasure of being nothing. The more they come to like him, to value his sensitivity, his sharp mind, his aesthetics, his ethics, and the more they want his respect, the easier it seems to become to think about destroying him. A new set of capacities which they had only dimly sensed are now coursing in their muscles, their cunt, their blood, their mind. Abandoned by their Dutch partner after giving up their home and their job to follow him to the Netherlands, humanities scholar Seasonal finds themself single in a strange place for the first time in a decade. Dipping into the rabbit hole of digital eroticism, Seasonal soon meets László, a male sub who volleys back their cerebral sexts and is seeking a dominant guide. His dating-app profile—a photo of Foucault and the ingenuous greeting “Hello, World?”—thinly veils his desire to be annihilated. It’s a desire that Seasonal senses they can fulfill. But to do this means crossing the frightening gap between their desires and capacities. Seasonal and László embark on an experiment in remaking intimacy outside the Republic of Gender. But as it continues, the two realize they are staging separate confrontations with domination: Seasonal finds they must confront their own relation to the violence and anger that marked their upbringing in working-class, small-town Australia, while László stages his own confrontation with his decision to leave Viktor Orbán’s Hungary. As they attempt to improvise a theater of domination that opens up possibilities of reciprocity, the energies of their sexuality stalk this collaboration, threatening to give them exactly what they bargained or begged for. A feminist paean to perversity in the tradition of Pauline Réage’s Story of O and Anaïs Nin’s Delta of Venus, Anna Poletti’s hello, world? dares to fully inhabit female power, and to fully face the violence, beauty, and uncharted territories of human sexuality.