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Trish Doller’s The Suite Spot is a charming romance novel about taking a chance on a new life and a new love. Rachel Beck has hit a brick wall. She’s a single mom, still living at home and trying to keep a dying relationship alive. Aside from her daughter, the one bright light in Rachel’s life is her job as the night reservations manager at a luxury hotel in Miami Beach—until the night she is fired for something she didn’t do. On impulse, Rachel inquires about a management position at a brewery hotel on an island in Lake Erie called Kelleys Island. When she’s offered the job, Rachel packs up her daughter and makes the cross country move. What she finds on Kelleys Island is Mason, a handsome, moody man who knows everything about brewing beer and nothing about running a hotel. Especially one that’s barely more than foundation and studs. It’s not the job Rachel was looking for, but Mason offers her a chance to help build a hotel—and rebuild her own life—from the ground up.
By the early 1940s, when Ukrainian-born Irène Némirovsky began working on what would become Suite Française—the first two parts of a planned five-part novel—she was already a highly successful writer living in Paris. But she was also a Jew, and in 1942 she was arrested and deported to Auschwitz: a month later she was dead at the age of thirty-nine. Two years earlier, living in a small village in central France—where she, her husband, and their two small daughters had fled in a vain attempt to elude the Nazis—she’d begun her novel, a luminous portrayal of a human drama in which she herself would become a victim. When she was arrested, she had completed two parts of the epic, the handwritten manuscripts of which were hidden in a suitcase that her daughters would take with them into hiding and eventually into freedom. Sixty-four years later, at long last, we can read Némirovsky’s literary masterpiece The first part, “A Storm in June,” opens in the chaos of the massive 1940 exodus from Paris on the eve of the Nazi invasion during which several families and individuals are thrown together under circumstances beyond their control. They share nothing but the harsh demands of survival—some trying to maintain lives of privilege, others struggling simply to preserve their lives—but soon, all together, they will be forced to face the awful exigencies of physical and emotional displacement, and the annihilation of the world they know. In the second part, “Dolce,” we enter the increasingly complex life of a German-occupied provincial village. Coexisting uneasily with the soldiers billeted among them, the villagers—from aristocrats to shopkeepers to peasants—cope as best they can. Some choose resistance, others collaboration, and as their community is transformed by these acts, the lives of these these men and women reveal nothing less than the very essence of humanity. Suite Française is a singularly piercing evocation—at once subtle and severe, deeply compassionate and fiercely ironic—of life and death in occupied France, and a brilliant, profoundly moving work of art.
A portrait of three couples successively occupying a suite at the Plaza. A suburban couple take the suite while their house is being painted and it turns out to be the one in which they honeymooned 23 (or was it 24?) years before and was yesterday the anniversary, or is it today? This tale of marriage in tatters is followed by the exploits of a Hollywood producer who, after three marriages, is looking for fresh fields. He calls a childhood sweetheart, now a suburban housewife, for a little sexual diversion. Over the years she has idolized him from afar and is now more than the match he bargained for. The last couple is a mother and father fighting about the best way to get their daughter out of the bathroom and down to the ballroom where guests await her or as Mother yells, "I want you to come out of that bathroom and get married!"--Publisher's description.
Writing from the upper west side of Manhattan, where Harlem intersects with waves of immigrants from the Dominican Republic, Cuba, Puerto Rico, Korea, Cambodia, Ivory Coast, India, Native America, and from all over the globe, hattie gossett vividly invokes her neighborhood experience. With wit and candor, she questions why so many people are forced from their home countries, only to be despised as interlopers in the United States; why older immigrants see younger ones as the enemy; who gets paid a living wage, who gentrifies their neighborhood, and who sends their money back home. From the grocery store to the cleaners to the tenement walk-up and everywhere in between, gossett captures the voices overheard and imagined in this breathless immigrant suite.
Well over 50% of New Yorkers rely on subways, trains, and buses to get from place to place, making New York City the most mass-transit friendly city in the United States, and a world-wide leader in public transportation. This book uses colorful photographs and engaging, authentic text to examine the different ways that New Yorkers get around. Aligned with New York City's Grade 2 social studies curriculum standard for Unit 1: New York City Geography 3.1b, 3.1c, 3.1e, 3.2a.
The second in Nathalie Léger’s acclaimed genre-defying triptych of books about the struggles and obsessions of women artists. “I believe there is a miracle in Wanda,” wrote Marguerite Duras of the only film American actress Barbara Loden ever wrote and directed. “Usually, there is a distance between representation and text, subject and action. Here that distance is completely eradicated.” It is perhaps this “miracle”—the seeming collapse of fiction and fact—that has made Wanda (1970) a cult classic, and a fascination of artists from Isabelle Huppert to Rachel Kushner to Kate Zambreno. For acclaimed French writer Nathalie Léger, the mysteries of Wanda launched an obsessive quest across continents, into archives, and through mining towns of Pennsylvania, all to get closer to the film and its maker. Suite for Barbara Loden is the magnificent result.
"Funny, poignant, sad and wistful…This is a very fine book—about a person, and a city, growing up."—Philadelphia Inquirer "This delightful yet poignant memoir is highly recommended for both public and academic libraries."—Library Journal (starred review) "The charming Hotel Kid is as luxurious as the lobby in a five-star hotel."—San Francisco Chronicle A Manhattan landmark for fifty years, the Taft in its heyday in the 1930s and '40s was the largest hotel in midtown, famed for the big band in its basement restaurant and the view of Times Square from its towers. As the son of the general manager, Stephen Lewis grew up in this legendary hotel, living with his parents and younger brother in a suite overlooking the Roxy Theater. His engaging memoir of his childhood captures the colorful, bustling atmosphere of the Taft, where his father, the best hotelman in New York, ruled a staff of Damon Runyonesque house dicks, chambermaids, bellmen, and waiters, who made sure that Stephen knew what to do with a swizzle stick by the time he was in the third grade. The star of this memoir is Lewis's fast-talking, opinionated, imperious mother, who adapted so completely to hotel life that she rarely left the Taft. Evelyn Lewis rang the front desk when she wanted to make a telephone call, ordered all the family's meals from room service, and had her dresses sent over from Saks. During the Depression, the tough kids from Hell's Kitchen who went to grade school with Stephen marveled at the lavish spreads his mother offered her friends at lunch every day, and later even his wealthy classmates at Horace Mann-Lincoln were impressed by the limitless hot fudge sundaes available to the Lewis boys. Lewis contrasts the fairy-tale luxury of his life inside the hotel with the gritty carnival spirit of his Times Square neighborhood, filled with the noise of trolleys, the smell of saloons, the dazzle of billboards and neon signs. In Hotel Kid, lovers of New York can visit the nightclubs and movie palaces of a vanished era and thread their way among the sightseers and hucksters, shoeshine boys and chorus girls who crowded the streets when Times Square really was the crossroads of the world. "[T]his postcard from a vanished age nicely captures a special childhood rivaling Eloise's"—Kirkus Reviews "A colorful and nostalgic snapshot of a vanished era."—Bloomsbury Review "Chockfull of history and wit, Stephen Lewis' account of his charming yet preposterous childhood spent in a suite at the Taft Hotel ordering from room service and playing games like elevator free fall is a five-star read. Hotel Kid pays tribute to an elegant time long ago that was very elegant and is very gone. It's a book we've been waiting for without realizing it: at long last, an Eloise for grown ups."—Madeleine Blais, author of Uphill Walkers: Portrait of a Family Stephen Lewis on Hotel Kid: "Raised in a loving cocoon of chambermaids, bellboys, porters, waiters, and housedicks, I led a fairy tale existence as the son of the general manager of the Hotel Taft, just off Times Square and Radio City. During the darkest days of the Depression, my younger brother and I treated our friends to limitless chocolate éclairs and ice cream sodas. Vague longings for a 'real American life' rose only occasionally — as rare as the home-cooked meals my mother attempted once or twice a year. From my privileged vantage point in a four-room suite on the fifteenth floor, overlooking the chorus girls sunbathing on the roof of the Roxy Theater, I grew into adolescence, both street-smart and sheltered by the hundreds of hotel workers who had known me since I was a baby."
Based on Jack Kerouac's own real-life love affair in Mexico City, this is the story of a man's ill-fated relationship with a woman he portrays with tenderness and dignity, even as her life spirals out of control "Each book by Jack Kerouac is unique, a telepathic diamond. With prose set in the middle of his mind, he reveals consciousness itself in all its syntatic elaboration, detailing the luminous emptiness of his own paranoiac confusion. Such rich natural writing is nonpareil in later half XX century, a synthesis of Proust, Céline, Thomas Wolfe, Hemingway, Genet, Thelonius Monk, Basho, Charlie Parker, and Kerouac's own athletic sacred insight. "This entire short novel Tristessa's a narrative meditation studying a hen, a rooster, a dove, a cat, a chihuaha dog, family meat, and a ravishing, ravished junky lady, first in their crowded bedroom, then out to drunken streets, taco stands, & pads at dawn in Mexico City slums." —Allen Ginsberg
Bestselling author Rochelle Alers’ returns to romantic New Orleans in this uplifting series featuring four very different friends embarking on the dream of a lifetime . . . With her besties in the Big Easy, Nydia Santiago is second-guessing staying behind in New York City. So when Jasmine Washington calls with the exciting news that she’s getting married, Nydia happily rushes to New Orleans to be her maid of honor. Once she visits the lovely Garden District estate her friends are transforming into a luxury inn, she’s wistful to join them in their venture. Then she meets the sexy engineer in charge of the renovation. With his seductive Southern drawl, Lamar Pierce could make her believe in love again . . . Lamar is confident, responsible, and settled—everything her ex, an aspiring Latin music singer, wasn’t. But Lamar is also a widowed father to a pre-teen girl in need of a mother, something Nydia’s not ready to be. When her ex makes a very public proposal, suddenly Nydia is running from the paparazzi—straight into Lamar’s arms. But is she ready to take the leap from singlehood to wife and mother?. . . Praise for The Inheritance “The ambiance and flavor of New Orleans are on full display.” —RT Book Reviews, 4 Stars “A novel that resembles female bonding romance series like The Bride Quartet by Nora Roberts. . . . Capitalizing on its assets: the sensuous Big Easy setting and the rarely encountered middle age romance.” —Kirkus Reviews