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In this dazzling finale - both of the Ghorba Ghost Story Series and award-winning author Massoud Hayoun's brief career as a novelist - Darf Publishers brings you a Jewish Egyptian Wizard of Oz, radiating "crushed velour and luxury" and "sensuality, once more". Sam Saadoun, not to be confused with the gay Jewish Arab protagonist of Building 46 of the same name, had planned to spend a final night in Brighton Beach, Brooklyn with the last of many lovers. But amid their frolicking through that American immigrant enclave's Post-Soviet attractions, Sam finds himself cast back to the heart of the matter: Alexandria, Egypt in the 1930s. With the biting satire and folly of a Luis Bunuel film and the delicious melancholy of a Beach House ballad, Hayoun offers us a striking last look at the Ghorba Ghost World's longing, love, and lust as well as the political intimacies that have shaped the 21st Century Arab world and North African diaspora. This is a parting glance that is bound to haunt and delight.
"Be prepared for a long night. Guttridge combines period mystery, police procedure and noir in a fascinating tale whose only blemish is that you'll have to wait for the next in the series in its resolution” ― Kirkus Reviews, (Starred Review) The first gripping mystery in the Brighton Trilogy. July 1934. A woman's torso is found in a trunk at Brighton railway station's lost luggage office. Her identity is never established, her killer never caught. But someone is keeping a diary... July 2009. Ambitious radio journalist Kate Simpson hopes to solve the notorious Brighton Trunk Murder, and she enlists the help of ex-Chief Constable Robert Watts, whose role in the recent botched armed-police operation in Milldean, Brighton's notorious no-go area, cost him his job. But it's only a matter of time before past and present collide...
WINNER OF THE ARAB AMERICAN BOOK AWARD • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NPR The stunning debut of a brilliant nonfiction writer whose vivid account of his grandparents' lives in Egypt, Tunisia, Palestine, and Los Angeles reclaims his family's Jewish Arab identity There was a time when being an "Arab" didn't mean you were necessarily Muslim. It was a time when Oscar Hayoun, a Jewish Arab, strode along the Nile in a fashionable suit, long before he and his father arrived at the port of Haifa to join the Zionist state only to find themselves hosed down with DDT and then left unemployed on the margins of society. In that time, Arabness was a mark of cosmopolitanism, of intellectualism. Today, in the age of the Likud and ISIS, Oscar's son, the Jewish Arab journalist Massoud Hayoun whom Oscar raised in Los Angeles, finds his voice by telling his family's story. To reclaim a worldly, nuanced Arab identity is, for Hayoun, part of the larger project to recall a time before ethnic identity was mangled for political ends. It is also a journey deep into a lost age of sophisticated innocence in the Arab world; an age that is now nearly lost. When We Were Arabs showcases the gorgeous prose of the Eppy Award–winning writer Massoud Hayoun, bringing the worlds of his grandparents alive, vividly shattering our contemporary understanding of what makes an Arab, what makes a Jew, and how we draw the lines over which we do battle.
First He Drove Her Mad In what feels like a moment, Beatrice Edmund goes from being a proper lady cooped up in a stuffy Scottish castle to traveling miles from anything she's ever known, in the midst of the wildest adventure of her life. And at the center of that adventure is the most infuriating, puzzling scoundrel on earth. She cannot take her eyes off him. Then He Drove Her Wild Colin Fitch cannot deny he's drawn to Beatrice--but lust is all he could possibly feel for the sharp-tongued minx. Still, if there's a chance she can help him stop the madman he pursues, he must withstand her obvious disapproval. Yet withstanding the longing he feels for her is growing more troublesome by the second. . . And Colin has never been terribly good at staying out of trouble. . .
Investigating a murder committed in the style of a famous magic trick, Detective Inspector Edgar Stephens reconnects with an illusionist friend from World War II to uncover links to their special ops service.
A man is impaled. Another is skinned alive. Brighton has been invaded. But this is no mere power struggle between rival mobsters; the motives for the killings stretch back to an explosive 40-year-old secret Brighton's crime king John Hathaway would rather forget.
Can machines really think? Is the mind just a complicated computer program? Half a century of research into Artificial Intelligence has resulted in machines capable of beating the best human chess players and humanoid robots that can walk and interact with us. Yet exactly should we go about building a truly intelligent machine? Introducing Artificial Intelligence focuses on the major issues behind one of the hardest scientific problems ever undertaken.
Newly minted PI Emma Holmes and her partner Sam Collins are chosen for a high-profile case: retired music-hall star Verity Malone hires them to find out who poisoned her husband, a theater impresario. Verity herself has been accused of the crime. Soon Emma realizes that Verity's life intersects closely with her own. The team of female PIs circle closer to the killer, with the Brighton police hot on their tail. The clues suggest they're looking for a criminal targeting the old music-hall crew. How long will it be before that trail leads straight back to Max? Print run 3,000.
Reproduction of the original: The Crime and the Criminal by Richard Marsh