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“Combines the spare poetry of The Road with the dizzying pace of 28 Days Later.” —Jennie Melamed, author Gather the Daughters “A riveting novel.” —Eowyn Ivey, bestselling author of The Snow Child Remember your just-in-cases. Beware tall buildings. Always have your knives. Raised in isolation by her mother and Maeve on a small island off the coast of a post-apocalyptic Ireland, Orpen’s life has revolved around training to fight a threat she’s never seen. More and more she feels the call of the mainland, and the prospect of finding other survivors. But that is where danger lies, too, in the form of the flesh-eating menace known as the skrake. Then disaster strikes. Alone, pushing an unconscious Maeve in a wheelbarrow, Orpen decides her last hope is abandoning the safety of the island and journeying across the country to reach the legendary banshees, the rumored all-female fighting force that battles the skrake. But the skrake are not the only threat... Sarah Davis-Goff's Last Ones Left Alive is a brilliantly original imagining of a young woman's journey to discover her true identity.
The choreographic turn in the visual arts from 1958 to 1965 can be identified by the sudden emergence of works created by very different visual artists in very different placesartists such as Allan Kaprow, Carolee Schneeman, and Robert Rauschenberg in the United States; Lygia Pape and Hlio Oiticica in Brazil; the Gutai group in Japan; and Yves Klein in france. each explicitly or implicitly used dance or choreographic procedures to reinvent and reimagine the practice and its history. Dedicated to the renewed encounter between dance and performance, Is the Living Body the Last Thing Left Alive? is a collection of essays and writings taken from the 2014 conference organized by Para Site, Hong Kong. Thirty contributors, coming from a broad field of discourse, joined together to rethink performance as more than a medium but rather as a series of questions and reflections about how art mediates social relations among people. Contributors include Belkis Ayn, Claire Bishop, Boris Buden, Amy Cheng, Bojana Cvejic, Patrick D. flores, and Simryn Gil, and Yangjiang Group, among many others.
The world is dead. Plants gone. Animals gone. The air is thick with dust and ash. Water has turned to murky cesspools of death and decay. Life and Earth as we know it are gone-at least all the good parts. It's been almost a year since the first signs that we killed our planet began to arise. Order and humanity are gone now, replaced by vigilante justice and survival at all costs. Nine months have passed since the quarantines were put in place. Six months since we realized it was too late, and just after that the governments of the world fell. That was nearly seven billion people ago, and now Charles has decided it is time to pack up and leave in search of the one thing still worth living for-his daughters. With rumors of roving bands of cannibals, and even zombies, he knows making the journey is a long shot, but he has to try. He promised their dying mother that he would keep them safe and has every intention of doing just that, come hell or hungry zombies. In a soulless world filled with nothing but pain and death, will his determination be enough to see him through to the end?
"This tense wire of a novel thrums with suspense. . . . [this book] just might be the highlight of your summer.”–The New York Times Cheryl Strayed's Wild meets The Revenant in this heart-pounding story of survival and revenge in the unforgiving wilderness. After: Jess is alone. Her cabin has burned to the ground. She knows if she doesn’t act fast, the cold will kill her before she has time to worry about food. But she is still alive—for now. Before: Jess hadn’t seen her survivalist, off-the-grid dad in over a decade. But after a car crash killed her mother and left her injured, she was forced to move to his cabin in the remote Canadian wilderness. Just as Jess was beginning to get to know him, a secret from his past paid them a visit, leaving her father dead and Jess stranded. After: With only her father’s dog for company, Jess must forage and hunt for food, build shelter, and keep herself warm. Some days it feels like the wild is out to destroy her, but she’s stronger than she ever imagined. Jess will survive. She has to. She knows who killed her father…and she wants revenge.
Keen profiles Blue Angels leader, Capt. Harley Hall, the last American pilot shot down before the cease fire in Vietnam. She chronicles jarring evidence indicating that Hall remained alive for years after his capture and outlines America's humiliating response to his wife's and others' pleas to garner attention for this compelling case.
“Much like Donna Tartt’s The Secret History, M. L. Rio’s sparkling debut is a richly layered story of love, friendship, and obsession...will keep you riveted through its final, electrifying moments.” —Cynthia D’Aprix Sweeney, New York Times bestselling author of The Nest "Nerdily (and winningly) in love with Shakespeare...Readable, smart.” —New York Times Book Review On the day Oliver Marks is released from jail, the man who put him there is waiting at the door. Detective Colborne wants to know the truth, and after ten years, Oliver is finally ready to tell it. A decade ago: Oliver is one of seven young Shakespearean actors at Dellecher Classical Conservatory, a place of keen ambition and fierce competition. In this secluded world of firelight and leather-bound books, Oliver and his friends play the same roles onstage and off: hero, villain, tyrant, temptress, ingénue, extras. But in their fourth and final year, good-natured rivalries turn ugly, and on opening night real violence invades the students’ world of make-believe. In the morning, the fourth-years find themselves facing their very own tragedy, and their greatest acting challenge yet: convincing the police, each other, and themselves that they are innocent. If We Were Villains was named one of Bustle's Best Thriller Novels of the Year, and Mystery Scene says, "A well-written and gripping ode to the stage...A fascinating, unorthodox take on rivalry, friendship, and truth."
"Brimming with optimism, John Frohnmayer journeyed to Washington, D.C., in 1989 to serve a cause he believed in deeply: the arts in America. Appointed by President Bush to be chairman of the National Endowment for the Arts, he was abruptly fired two and a half years later in a storm of front-page controversy." "Leaving Town Alive is Frohnmayer's lively and startlingly candid account of his trial by fire in the brutal world of power politics. Taking over the NEA amid the uproar about Robert Mapplethorpe's sexually explicit photographs, Frohnmayer stood at the center of the emotional debate over public funding for the arts. On the left were staunch defenders of free speech and the artists whose confrontational works came under attack. On the right were Jesse Helms and the fundamentalist proponents of traditional values." "At first Frohnmayer assumed that he could negotiate anything and that everyone had the best interests of the country at heart. He was wrong: the White House, for instance, just wanted the problem of "offensive art" to go away, while right-wing fund-raisers wanted to keep the issue alive as long as possible. In the end, Frohnmayer's harrowing education changed him. He entered the fray a First Amendment moderate; he emerged a free-speech radical." "John Frohnmayer had an insider's view of Washington during the Bush years, and he writes with remarkable frankness about the bitter battles over the government's involvement in the arts. Passionate, witty, and wonderfully readable, Leaving Town Alive is, finally, an eloquent plea for the liberation of American culture from the narrow concerns of partisan politics."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Northern California in the early 70's. An investigative reporter is on the trail of radical attorney Donna Fairchild, who hasn't been seen for three years. In the course of her investigation, she discovers a group of ex-cons and political refugees (including Fairchild) living in an abandoned lumber camp. As the investigation broadens, a number of questions emerge about the ex-cons and their mysterious leader. Why do the police interview him after every local rape? What is his relationship to Fairchild--and to the Vasquez murder? Where did he get the money to buy the camp and much of the mountain? And where does he disappear to every six months, returning battered and bloodied? The group includes The Gimp, the wheelchair-bound owner of the local bar and unofficial mayor of the mountain; Lucky, who doesn't have an honest bone in his body; William, a blackballed professor; Clark, who no one has ever heard speak; Alexis, the stockbroker turned cabbie; and Josh, the mysterious figure at the center of it all. A series of rapes and murders--past and present--bind this group together. As these assaults increase in severity and number, the mysteries surrounding Josh and the group are resolved in a shocking, violent finale.
My name is Amber Reynolds. There are three things you should know about me: 1. I’m in a coma. 2. My husband doesn’t love me anymore. 3. Sometimes I lie. Amber wakes up in a hospital. She can’t move. She can’t speak. She can’t open her eyes. She can hear everyone around her, but they have no idea. Amber doesn’t remember what happened, but she has a suspicion her husband had something to do with it. Alternating between her paralyzed present, the week before her accident, and a series of childhood diaries from twenty years ago, this brilliant psychological thriller asks: Is something really a lie if you believe it's the truth?