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We are not alone! Through the eyes of medium, Anna Raimondi, view the spirit realm. This poignant book will open your heart, soul and mind to incomprehensible love.
A mesmerizing and thrilling novel—perfect for fans of Tana French and Stieg Larsson—that introduces a modern, unforgettable rookie cop whose past is as fascinating and as deadly as the crimes she investigates. NAMED ONE OF THE BEST BOOKS OF THE YEAR BY The Boston Globe • The Seattle Times SHE KNOWS WHAT IT’S LIKE. . . . At first, the murder scene appears sad, but not unusual: a young woman undone by drugs and prostitution, her six-year-old daughter dead alongside her. But then detectives find a strange piece of evidence in the squalid house: the platinum credit card of a very wealthy—and long dead—steel tycoon. What is a heroin-addicted hooker doing with the credit card of a well-known and powerful man who died months ago? This is the question that the most junior member of the investigative team, Detective Constable Fiona Griffiths, is assigned to answer. But D.C. Griffiths is no ordinary cop. She’s earned a reputation at police headquarters in Cardiff, Wales, for being odd, for not picking up on social cues, for being a little overintense. And there’s that gap in her past, the two-year hiatus that everyone assumes was a breakdown. But Fiona is a crack investigator, quick and intuitive. She is immediately drawn to the crime scene, and to the tragic face of the six-year-old girl, who she is certain has something to tell her . . . something that will break the case wide open. Ignoring orders and protocol, Fiona begins to explore far beyond the rich man’s credit card and into the secrets of her seaside city. And when she uncovers another dead prostitute, Fiona knows that she’s only begun to scratch the surface of a dark world of crime and murder. But the deeper she digs, the more danger she risks—not just from criminals and killers but from her own past . . . and the abyss that threatens to pull her back at any time. BONUS: This edition includes an excerpt from Harry Bingham's Love Story, with Murders. Praise for Talking to the Dead “Gritty, compelling . . . a procedural unlike any other you are likely to read this year.”—USA Today “With Detective Constable Fiona ‘Fi’ Griffiths, Harry Bingham . . . finds a sweet spot in crime fiction . . . think Stieg Larsson’s Lisbeth Salander . . . Denise Mina’s ‘Paddy’ Meehan [or] Lee Child’s Jack Reacher. . . . The writing is terrific.”—The Boston Globe “The mystery-thriller genre is already so staffed with masterminds that it’s hard to make room for another. But along comes a book like Talking to the Dead, and suddenly an unadvertised opening is filled. . . . [This] has the feel of something fresh and compelling.”—New York Daily News “A stunner with precision plotting, an unusual setting, and a deeply complex protagonist . . . We have the welcome promise of more books to come about Griffiths.”—The Seattle Times “Recommended highly . . . [a] riveting procedural thriller.”—Library Journal (starred review)
With his single mother in jail, Sequoyah, a 15-year-old Cherokee boy, is placed in foster care with the Troutt family. Literally and figuratively scarred by his unstable upbringing, Sequoyah has spent years mostly keeping to himself, living with his emotions pressed deep below the surface - that is, until he meets 17-year-old Rosemary, another youth staying with the Troutts. Sequoyah and Rosemary bond over their shared Native American background and tumultuous paths through the foster care system, but as Sequoyah's feelings towards Rosemary deepen, the precariousness of their lives and the scars of their pasts threaten to undo them both.
Talking to the Dead is bestselling author Helen Dunmore's fourth novel. There's nothing closer than sisters . . . Unloved by their distant mother, Isabel and Nina cemented their bond in childhood when tragedy struck the family. Many yeas later, with the difficult birth of Isabel's first child, it is Nina who comes to stay and help out her older sister. But Nina has other, important reasons for being under her sister's roof - not least of these is Isabel's husband, Richard. The tragedy that drew two sisters together so many years ago still has the power to wrench them apart . . . 'A writer of quiet deadly power . . . it takes two paragraphs to hook you. Don't resist' Time Out 'Dunmore's capacity for hauntingly psychological storytelling is on brilliant display' Sunday Times 'Flies off the page, startling the reader with its brilliance' Financial Times Helen Dunmore has published eleven novels with Penguin: Zennor in Darkness , which won the McKitterick Prize; Burning Bright; A Spell of Winter, which won the Orange Prize; Talking to the Dead; Your Blue-Eyed Boy; With Your Crooked Heart; The Siege, which was shortlisted for the 2001 Whitbread Novel of the Year Award and for the Orange Prize for Fiction 2002; Mourning Ruby; House of Orphan; Counting the Stars and The Betrayal, which was longlisted for the Man Booker Prize 2010. She is also a poet, children's novelist and short-story writer.
We are not alone! Through the eyes of medium, Anna Raimondi, view the spirit realm. This poignant book will open your heart, soul and mind to incomprehensible love.
Talking to the Dead is an ethnography of seven Gullah/Geechee women from the South Carolina lowcountry. These women communicate with their ancestors through dreams, prayer, and visions and traditional crafts and customs, such as storytelling, basket making, and ecstatic singing in their churches. Like other Gullah/Geechee women of the South Carolina and Georgia coasts, these women, through their active communication with the deceased, make choices and receive guidance about how to live out their faith and engage with the living. LeRhonda S. Manigault-Bryant emphasizes that this communication affirms the women's spiritual faith—which seamlessly integrates Christian and folk traditions—and reinforces their position as powerful culture keepers within Gullah/Geechee society. By looking in depth at this long-standing spiritual practice, Manigault-Bryant highlights the subversive ingenuity that lowcountry inhabitants use to thrive spiritually and to maintain a sense of continuity with the past.
Millions of Christians unknowingly talk to the dead on a daily basis. Readerswill learn that the Bible forbids this practice. (Practical Life)
Brian Norman uncovers a curious phenomenon in American literature: dead women who nonetheless talk. These characters appear in works by such classic American writers as Poe, Dickinson, and Faulkner as well as in more recent works by Alice Walker, Toni Morrison, Tony Kushner, and others. These figures are also emerging in contemporary culture, from the film and best-selling novel The Lovely Bones to the hit television drama Desperate Housewives. Dead Women Talking demonstrates that the dead, especially women, have been speaking out in American literature since well before it was fashionable. Norman argues that they voice concerns that a community may wish to consign to the past, raising questions about gender, violence, sexuality, class, racial injustice, and national identity. When these women insert themselves into the story, they do not enter precisely as ghosts but rather as something potentially more disrupting: posthumous citizens. The community must ask itself whether it can or should recognize such a character as one of its own. The prospect of posthumous citizenship bears important implications for debates over the legal rights of the dead, social histories of burial customs and famous cadavers, and the political theory of citizenship and social death. -- Leonard Cassuto, author of Hard-Boiled Sentimentality: The Secret History of American Crime Stories
First published in 1963 and representing Burroughs's literary breakthrough in the UK, Dead Fingers Talk is, in the words of Burroughs scholar Oliver Harris, "e;a prophetic work of haunting power,"e; a unique experiment in writing that has for too long been overlooked. Combining new material with rearranged selections from Naked Lunch and his cut-up novels The Soft Machine and The Ticket That Exploded, the book is a fascinating precursor to remix and mash-up forms in art and music, which owe much to Burroughs's influence.This newly restored edition of Dead Fingers Talk, based on the novel's archival manuscripts, will delight all Burroughs fans and lovers of experimental literature, and offer a new insight into the artistic process of one of the most original and influential writers of the twentieth century
In late medieval Catholicism, mourners employed an array of practices to maintain connection with the deceased—most crucially, the belief in purgatory, a middle place between heaven and hell where souls could be helped by the actions of the living. In the early sixteenth century, the Reformation abolished purgatory, as its leaders did not want attention to the dead diminishing people's devotion to God. But while the Reformation was supposed to end communication between the living and dead, it turns out the result was in fact more complicated than historians have realized. In the three centuries after the Reformation, Protestants imagined continuing relationships with the dead, and the desire for these relations came to form an important—and since neglected—aspect of Protestant belief and practice. In Speaking with the Dead in Early America, historian Erik R. Seeman undertakes a 300-year history of Protestant communication with the dead. Seeman chronicles the story of Protestants' relationships with the deceased from Elizabethan England to puritan New England and then on through the American Enlightenment into the middle of the nineteenth century with the explosion of interest in Spiritualism. He brings together a wide range of sources to uncover the beliefs and practices of both ordinary people, especially women, and religious leaders. This prodigious research reveals how sermons, elegies, and epitaphs portrayed the dead as speaking or being spoken to, how ghost stories and Gothic fiction depicted a permeable boundary between this world and the next, and how parlor songs and funeral hymns encouraged singers to imagine communication with the dead. Speaking with the Dead in Early America thus boldly reinterprets Protestantism as a religion in which the dead played a central role.