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This unique and meticulously edited collection of Lew Wallace's greatest works includes: "Ben-Hur: A Tale of the Christ" describes the adventures of Judah Ben-Hur, Jewish prince from Jerusalem who gets enslaved by the Romans. He is taken to Rome where he becomes a charioteer and a Christian. Running in parallel with Judah's narrative is the unfolding story of Jesus, who comes from the same region and is a similar age._x000D_ "The Fair God: The Last of the 'Tzins" is a magnificent tale of the conflict between the Spanish Conquistadors and the Aztecs. The Cortez's conquest of Mexico is a central theme and the novel gives an account of the descent of the Aztec Empire._x000D_ "The Prince of India: Why Constantinople Fell" is a tale of the Fall of Byzantine Empire, seen through the eyes of Indian Prince in service of the Turkish Sultan._x000D_ "The Wooing of Malkatoon" is a narrative poem about young Othman who explores secrets of love and women._x000D_ "Commodus" is a historical play about the Roman Emperor Commodus and Maternus, soldier of a daring boldness, who collected bands of robbers into a little army in order to murder Commodus and to ascend the vacant throne._x000D_
A look at the history of the idea of the objective journalist and how this very ideal can often be used to undercut itself. In The View from Somewhere, Lewis Raven Wallace dives deep into the history of “objectivity” in journalism and how its been used to gatekeep and silence marginalized writers as far back as Ida B. Wells. At its core, this is a book about fierce journalists who have pursued truth and transparency and sometimes been punished for it—not just by tyrannical governments but by journalistic institutions themselves. He highlights the stories of journalists who question “objectivity” with sensitivity and passion: Desmond Cole of the Toronto Star; New York Times reporter Linda Greenhouse; Pulitzer Prize-winner Rachel Kaadzi Ghansah; Peabody-winning podcaster John Biewen; Guardian correspondent Gary Younge; former Buzzfeed reporter Meredith Talusan; and many others. Wallace also shares his own experiences as a midwestern transgender journalist and activist who was fired from his job as a national reporter for public radio for speaking out against “objectivity” in coverage of Trump and white supremacy. With insightful steps through history, Wallace stresses that journalists have never been mere passive observers. Using historical and contemporary examples—from lynching in the nineteenth century to transgender issues in the twenty-first—Wallace offers a definitive critique of “objectivity” as a catchall for accurate journalism. He calls for the dismissal of this damaging mythology in order to confront the realities of institutional power, racism, and other forms of oppression and exploitation in the news industry. The View from Somewhere is a compelling rallying cry against journalist neutrality and for the validity of news told from distinctly subjective voices.
Brilliant, dazzling, never-before-collected nonfiction writings by "one of America's most daring and talented writers" (Los Angeles Times Book Review): Both Flesh and Not gathers fifteen of Wallace's seminal essays, all published in book form for the first time. Never has Wallace's seemingly endless curiosity been more evident than in this compilation of work spanning nearly 20 years of writing. Here, Wallace turns his critical eye with equal enthusiasm toward Roger Federer and Jorge Luis Borges; Terminator 2 and The Best of the Prose Poem; the nature of being a fiction writer and the quandary of defining the essay; the best underappreciated novels and the English language's most irksome misused words; and much more. Both Flesh and Not restores Wallace's essays as originally written, and it includes a selection from his personal vocabulary list, an assembly of unusual words and definitions.
Musaicum Books presents to you this meticulously edited Lewis Carroll collection. This ebook has been designed and formatted to the highest digital standards and adjusted for readability on all devices. Content: Novels: Alice in Wonderland Through the Looking-Glass Sylvie and Bruno Sylvie and Bruno Concluded Stories: A Tangled Tale Bruno's Revenge and Other Stories: Bruno's Revenge Crundle Castle The Legend of Scotland The Ladye's History Novelty and Romancement A Photographer's Day Out Photography Extraordinary The Walking Stick of Destiny Wilhelm von Schmitz What the Tortoise Said to Achilles Poems: Early Verse: My Fairy Punctuality Melodies Brother and Sister Facts Rules and Regulations Horrors Misunderstandings As It Fell upon a Day Ye Fattale Cheyse Lays of Sorrow The Two Brothers The Lady of the Ladle Coronach She's All my Fancy Painted Him Photography Extraordinary Lays of Mystery, Imagination, and Humour The Mock Turtle's Song Upon the Lonely Moor Miss Jones Puzzles from Wonderland Prologues to Plays Rhyme? And Reason? College Rhymes and Notes by an Oxford Chiel: Ode to Damon Those Horrid Hurdy-Gurdies! My Fancy The Majesty of Justice The Elections to the Hebdomadal Council The Deserted Parks Examination Statute Acrostics, Inscriptions and Other Verses: Acrostic To Three Puzzled Little Girls Double Acrostic Three Little Maids Puzzle Three Children Two Thieves Two Acrostics Double Acrostic Acrostic Acrostic Acrostic To M. A. B. Acrostic Madrigal Love among the Roses Two Poems to Rachel Daniel The Lyceum Acrostic Dreamland To my Child-Friend A Riddle A Limerick Rhyme? And Reason? A Nursery Darling Maggie's Visit to Oxford Maggie B— Inscribed to a Dear Child Five Fathom Square the Belfry Frowns The Wandering Burgess A Bacchanalian Ode Red Riding-Hood A Square Poem Three Sunsets and Other Poems The Life and Letters of Lewis Carroll
Thirty-two years after the battle of Shiloh, Lew Wallace returned to the battlefield, mapping the route of his April 1862 march. Ulysses S. Grant, Wallace's commander at Shiloh, expected Wallace and his Third Division to arrive early in the afternoon of April 6. Wallace and his men, however, did not arrive until nightfall, and in the aftermath of the bloodbath of Shiloh Grant attributed Wallace's late arrival to a failure to obey orders. By mapping the route of his march and proving how and where he had actually been that day, the sixty-seven-year-old Wallace hoped to remove the stigma of "Shiloh and its slanders." That did not happen. Shiloh still defines Wallace's military reputation, overshadowing the rest of his stellar military career and making it easy to forget that in April 1862 he was a rising military star, the youngest major general in the Union army. Wallace was devoted to the Union, but he was also pursuing glory, fame, and honor when he volunteered to serve in April 1861. In Shadow of Shiloh: Major General Lew Wallace in the Civil War, author Gail Stephens specifically addresses Wallace's military career and its place in the larger context of Civil War military history.
The Robe was the author's most successful book, going through multiple printings and remaining in the number one slot on the New York Times best seller list for almost a year. It was made into a film in which Richard Burton was the lead actor and which was nominated for a number of Academy awards. The book is a fictional telling of the story of the aftermath of the crucifixion of Jesus through the experiences of the Roman tribune Marcellus Gallio, who carried out the crucifixion, and his Greek slave Demetrius. Gallio wins the Robe through a toss of the dice and it comes to have an impact on his thinking and his life. Lloyd C. Douglas was an American minister and author born in Indiana in 1877. He was married and had two children. He did not write his first novel until the age of 50 but was considered to be one of the most popular writers of his time. His works usually had a moral and religious tone. Two of his best known works were The Robe and The Big Fisherman, which were made into major motion pictures. The Robe, written in 1942, sold over two million copies in hardcover alone. It held the number one position on the New York Times Best Seller list for over a year and remained on the list for an additional two years. The film version of The Robe hit the screen in 1953 and starred Richard Burton.
Not a story about me through their eyes then. Find the beginning, the slight silver key to unlock it, to dig it out. Here then is a maze to begin, be in. (p. 20) Funny yet horrifying, improvisational yet highly distilled, unflinchingly violent yet tender and elegiac, Michael Ondaatje’s ground-breaking book The Collected Works of Billy the Kid is a highly polished and self-aware lens focused on the era of one of the most mythologized anti-heroes of the American West. This revolutionary collage of poetry and prose, layered with photos, illustrations and “clippings,” astounded Canada and the world when it was first published in 1969. It earned then-little-known Ondaatje his first of several Governor General’s Awards and brazenly challenged the world’s notions of history and literature. Ondaatje’s Billy the Kid (aka William H. Bonney / Henry McCarty / Henry Antrim) is not the clichéd dimestore comicbook gunslinger later parodied within the pages of this book. Instead, he is a beautiful and dangerous chimera with a voice: driven and kinetic, he also yearns for blankness and rest. A poet and lover, possessing intelligence and sensory discernment far beyond his life’s 21 year allotment, he is also a resolute killer. His friend and nemesis is Sheriff Pat Garrett, who will go on to his own fame (or infamy) for Billy’s execution. Himself a web of contradictions, Ondaatje’s Garrett is “a sane assassin sane assassin sane assassin sane assassin sane assassin sane” (p. 29) who has taught himself a language he’ll never use and has trained himself to be immune to intoxication. As the hero and anti-hero engage in the counterpoint that will lead to Billy’s predetermined death, they are joined by figures both real and imagined, including the homesteaders John and Sallie Chisum, Billy’s lover Angela D, and a passel of outlaws and lawmakers. The voices and images meld, joined by Ondaatje’s own, in a magnificent polyphonic dream of what it means to feel and think and freely act, knowing this breath is your last and you are about to be trapped by history. I am here with the range for everything corpuscle muscle hair hands that need the rub of metal those senses that that want to crash things with an axe that listen to deep buried veins in our palms those who move in dreams over your women night near you, every paw, the invisible hooves the mind’s invisible blackout the intricate never the body’s waiting rut. (p. 72)