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A “rich, sometimes heartbreaking” (Dennis Lehane) novel of F. Scott Fitzgerald’s last years in Hollywood, from the acclaimed author of Emily, Alone and Henry, Himself In 1937, F. Scott Fitzgerald was a troubled, uncertain man whose literary success was long over. In poor health, with his wife consigned to a mental asylum and his finances in ruins, he struggled to make a new start as a screenwriter in Hollywood. By December 1940, he would be dead of a heart attack. Those last three years of Fitzgerald’s life, often obscured by the legend of his earlier Jazz Age glamour, are the focus of Stewart O’Nan’s gorgeously and gracefully written novel. With flashbacks to key moments from Fitzgerald’s past, the story follows him as he arrives on the MGM lot, falls in love with brassy gossip columnist Sheilah Graham, begins work on The Last Tycoon, and tries to maintain a semblance of family life with the absent Zelda and daughter, Scottie. Fitzgerald’s orbit of literary fame and the Golden Age of Hollywood is brought vividly to life through the novel’s romantic cast of characters, from Dorothy Parker and Ernest Hemingway to Humphrey Bogart. A sympathetic and deeply personal portrait of a flawed man who never gave up in the end, even as his every wish and hope seemed thwarted, West of Sunset confirms O’Nan as “possibly our best working novelist” (Salon).
"SOMETIMES ALL YOU CAN DO IS GO OUT WITH GUNS BLAZING. In the noir tradition of Chandler and Spillane comes SUNSET, a two-fisted tale of revenge and redemption. On the surface, Nick Bellamy looks like any other veteran retiree left behind by a modern world. In reality, Nick is a former enforcer, who stole a fortune and years of freedom from his former mob boss. Now, in the twilight of his life, Nick will lose everything he cares about except two things: revenge and the chance to die with his guns blazing. Writer CHRISTOS GAGE (Avengers Academy, GI Joe: Cobra) and artist JORGE LUCAS (THE DARKNESS) promise to hit hard with Minotaur Press's first original graphic novel that will make and make you forget all about your Prius and organic whole-grain trans-fat-free diet."
Sunset Survivors tells the stories of Hong Kong's traditional tradesmen and women through stunning imagery and candid interviews. Covering a myriad of professions that are quickly falling into obscurity, from fortune telling to face threading and letter writing to bird cage making, readers soon find themselves immersed in the streets of old Hong Kong. An up-close and personal look at Hong Kong, Sunset Survivors is a tribute to the city's character and a celebration of its roots.
Born in Los Angeles at the dawn of the 1960s to parents who quickly departed, Kathryn Harrison was received by her maternal grandparents as a late-life child. Harry Jacobs and Margaret Sassoon, true wandering Jews, had emigrated to L.A. after leading whirlwind lives in Shanghai, London, Alaska, Russia, and beyond. Harrison grew up in their fading Tudor mansion on Sunset Boulevard, a kingdom inhabited by gleaming memories from their extraordinary past. Their photos, letters, and souvenirs sparked endless family stories that spanned cultures, dynasties, and continents—until declining finances forced them to sell the house in 1971, and night fell fast. Vivid and poignant, filled with the wisdom of retrospect and the wonder of childhood, On Sunset seeks to recover a foundational time in her life, affirming the power of storytelling and the endurance of memory.
When a young runaway is found dead one morning, a syringe hanging out of his arm, no one is terribly shocked. A known junkie, even local detective Rubens McCauley is quick to conclude that Dallas Boyd died of an accidental overdose. But anomalies in the boy's death—and the haunting memory of a childhood friend—continue to nag at McCauley. Unable to shake his unease, he soon digs deeper into the case and finds himself enmeshed in a secret network of pedophiles, child abusers, and underage prostitutes. Forced to look evil in the eye, McCauley must conquer his own demons as he battles to find justice for a young boy he never even met.
Pull up a lounge chair and have a cocktail at Sunset Beach – it comes with a twist. Drue Campbell’s life is adrift. Out of a job and down on her luck, life doesn’t seem to be getting any better when her estranged father, Brice Campbell, a flamboyant personal injury attorney, shows up at her mother’s funeral after a twenty-year absence. Worse, he’s remarried – to Drue’s eighth grade frenemy, Wendy, now his office manager. And they’re offering her a job. It seems like the job from hell, but the offer is sweetened by the news of her inheritance – her grandparents’ beach bungalow in the sleepy town of Sunset Beach, a charming but storm-damaged eyesore now surrounded by waterfront McMansions. With no other prospects, Drue begrudgingly joins the firm, spending her days screening out the grifters whose phone calls flood the law office. Working with Wendy is no picnic either. But when a suspicious death at an exclusive beach resort nearby exposes possible corruption at her father’s firm, she goes from unwilling cubicle rat to unwitting investigator, and is drawn into a case that may – or may not – involve her father. With an office romance building, a decades-old missing persons case re-opened, and a cottage in rehab, one thing is for sure at Sunset Beach: there’s a storm on the horizon. Sunset Beach is a compelling ride, full of Mary Kay Andrews' signature wit, heart, and charm.
From Nebula Award winner Jack McDevitt comes the eighth installment in the popular The Academy series—Priscilla “Hutch” Hutchins discovers an interstellar message from a highly advanced race that could be her last chance for a mission before the program is shut down for good. Hutch has been the Academy’s best pilot for decades. She’s had numerous first contact encounters and even became a minor celebrity. But world politics have shifted from exploration to a growing fear that the program will run into an extraterrestrial race more advanced than humanity and war. Despite taking part in the recent scientific breakthrough that rejuvenates the human body and expands one’s lifespan, Hutch finds herself as a famous interstellar pilot with little to do, until a message from an alien race arrives. The message is a piece of music from an unexplored area. Despite the fact that this alien race could pose a great danger and that this message could have taken several thousand years to travel, the program prepares the last interstellar ship for the journey. As the paranoia grows, Hutch and her crew make an early escape—but what they find at the other end of the galaxy is completely unexpected.
Award-winning author Caryl Phillips presents a biographical novel of the life of Jean Rhys, the author of Wide Sargasso Sea, which she wrote as a prequel to Charlotte Brontë’s Jane Eyre. Caryl Phillips’s A View of the Empire at Sunset is the sweeping story of the life of the woman who became known to the world as Jean Rhys. Born Ella Gwendolyn Rees Williams in Dominica at the height of the British Empire, Rhys lived in the Caribbean for only sixteen years before going to England. A View of the Empire at Sunset is a look into her tempestuous and unsatisfactory life in Edwardian England, 1920s Paris, and then again in London. Her dream had always been to one day return home to Dominica. In 1936, a forty-five-year-old Rhys was finally able to make the journey back to the Caribbean. Six weeks later, she boarded a ship for England, filled with hostility for her home, never to return. Phillips’s gripping new novel is equally a story about the beginning of the end of a system that had sustained Britain for two centuries but that wreaked havoc on the lives of all who lived in the shadow of the empire: both men and women, colonizer and colonized. A true literary feat, A View of the Empire at Sunset uncovers the mysteries of the past to illuminate the predicaments of the present, getting at the heart of alienation, exile, and family by offering a look into the life of one of the greatest storytellers of the twentieth century and retelling a profound story that is singularly its own.