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A young, queer Palestinian American woman pieces together her great-aunt’s secrets in this “enchanting, memorable” (Bustle) debut, confronting questions of sexual identity, exile, and lineage. “As beautifully detailed as a piece of Palestinian embroidery, this bold, vivid novel will speak to readers across genders, cultures, and identities.”—Diana Abu-Jaber, author of Fencing with the King A THEM BEST BOOK OF THE YEAR In a Pacific Northwest hospital far from the Rummani family’s ancestral home in Palestine, the heart of a stillborn baby begins to beat and her skin turns vibrantly, permanently cobalt blue. On the same day, the Rummanis’ centuries-old soap factory in Nablus is destroyed in an air strike. The family matriarch and keeper of their lore, Aunt Nuha, believes that the blue girl embodies their sacred history, harkening back to a time when the Rummanis were among the wealthiest soap-makers and their blue soap was a symbol of a legendary love. Decades later, Betty returns to Aunt Nuha’s gravestone, faced with a difficult decision: Should she stay in the only country she’s ever known, or should she follow her heart and the woman she loves, perpetuating her family’s cycle of exile? Betty finds her answer in partially translated notebooks that reveal her aunt’s complex life and struggle with her own sexuality, which Nuha hid to help the family immigrate to the United States. But, as Betty soon discovers, her aunt hid much more than that. The Skin and Its Girl is a searing, poetic tale about desire and identity, and a provocative exploration of how we let stories divide, unite, and define us—and wield even the power to restore a broken family. Sarah Cypher is that rare debut novelist who writes with the mastery and flair of a seasoned storyteller.
In the year 2368, humanity struggles to recuperate from a technocaust that has left a generation of orphans in its wake. Strict government regulations convince people that technology is dangerous; confusion and fear rule the earth. Blay Raytee is a government work-camp orphan. Her future seems as bleak as that of the world around her. But when she is chosen for a special mission by a guardian of the environment named Marrella, Blay begins to discover that all may not be as it seems. The secrets she uncovers could hold the key both to the healing of the world and to her own past. What she learns may just empower her to join those who struggle to restore democracy -- and to discover at last who she really is. Master storyteller Janet McNaughton vividly imagines an all-too-believable future where one child's brave search for the truth could restore a broken world.
Maleeka suffers every day from the taunts of the other kids in her class. If they're not getting at her about her homemade clothes or her good grades, it's about her dark, black skin. When a new teacher, whose face is blotched with a startling white patch, starts at their school, Maleeka can see there is bound to be trouble for her too. But the new teacher's attitude surprises Maleeka. Miss Saunders loves the skin she's in. Can Maleeka learn to do the same?
With the ease and simplicity of a nursery rhyme, this lively story delivers an important message of social acceptance to young readers. Themes associated with child development and social harmony, such as friendship, acceptance, self-esteem, and diversity are promoted in simple and straightforward prose. Vivid illustrations of children's activities for all cultures, such as swimming in the ocean, hugging, catching butterflies, and eating birthday cake are also provided. This delightful picturebook offers a wonderful venue through which parents and teachers can discuss important social concepts with their children.
"There was very fine, an elegant pain, hardly a pain at all, like the swift and fleeting burn of a drop of hot candle wax...Then the blood welled up and began to distort the pure, stark edges of my delicately wrought wound. "The chaos in my head spun itself into a silk of silence. I had distilled myself to the immediacy of hand, blade, blood, flesh." There are an estimated two to three million "cutters" in America, but experts warn that, as with anorexia, this could be just the tip of the iceberg of those affected by this little-known disorder. Cutting has only just begun to enter public consciousness as a dangerous affliction that tends to take hold of adolescent girls and can last, hidden and untreated, well into adulthood. Caroline Kettlewell is an intelligent woman with a promising career and a family. She is also a former cutter, and the first person to tell her own story about living with and overcoming the disorder. She grew up on the campus of a boys' boarding school where her father taught. As she entered adolescence, the combination of a family where frank discussion was avoided and life in what seemed like a fishbowl, where she and her sister were practically the only girls the students ever saw, became unbearable for Caroline. She discovered that the only way to find relief from overpowering feelings of self-consciousness, discomfort, and alienation was to physically hurt herself. She began cutting her arms and legs in the seventh grade, and continued into her twenties. Why would a rational person resort to such extreme measures? How did she recognize and overcome her problem? In a memoir startling for its honesty, humor, and poignancy, Caroline Kettlewell offers a clear-eyed account of her own struggle to survive this debilitating affliction.
You don't have to be thin to feel small. Donnie's life is unraveling. His parents' marriage is falling apart, and his sister is slowly slipping away in the grip of her illness. To top it all off, he accidentally starts a rumor at school that hurts someone he cares about and leaves him an outcast. So Donnie does the only thing he knows how to do: He tries to fix things, to make everything the way it was before. Before his parents stopped loving each other, before his sister disappeared, before he was alone. But some things are beyond repair, and it will take all Donnie's strength to stop looking back and start moving forward again.
Taking the literary world by storm, Eimear McBride’s internationally praised debut is one of the most acclaimed novels in recent years; it is “subversive, passionate, and darkly alchemical. Read it and be changed” (Eleanor Catton). Eimear McBride’s debut tells, with astonishing insight and in riveting detail, the story of a young woman’s relationship with her brother, the long shadow cast by his childhood brain tumour, and her harrowing sexual awakening. Not so much a stream-of-consciousness, as an unconscious railing against a life that makes little sense, and a shocking and intimate insight into the thoughts, feelings and chaotic sexuality of a vulnerable and isolated protagonist, A Girl Is a Half-formed Thing plunges inside its narrator’s head, exposing her world firsthand. This isn’t always comfortable—but it is always a revelation. Touching on everything from family violence to religion to addiction, and the personal struggle to remain intact in times of intense trauma, McBride writes with singular intensity, acute sensitivity, and mordant wit. A Girl Is a Half-formed Thing is moving, funny, and alarming. It is a book you will never forget.
For a generation of contemporary Anglo-American novelists, the question "Why write?" has been answered with a renewed will to believe in the ethical value of literature. Dissatisfied with postmodernist parody and pastiche, a broad array of novelist-critics—including J.M. Coetzee, Toni Morrison, Zadie Smith, Gish Jen, Ian McEwan, and Jonathan Franzen—champion the novel as the literary genre most qualified to illuminate individual ethical action and decision-making within complex and diverse social worlds. Key to this contemporary vision of the novel's ethical power is the task of knowing and being responsible to people different from oneself, and so thoroughly have contemporary novelists devoted themselves to the ethics of otherness, that this ethics frequently sets the terms for plot, characterization, and theme. In The Novel and the New Ethics, literary critic Dorothy J. Hale investigates how the contemporary emphasis on literature's social relevance sparks a new ethical description of the novel's social value that is in fact rooted in the modernist notion of narrative form. This "new" ethics of the contemporary moment has its origin in the "new" idea of novelistic form that Henry James inaugurated and which was consolidated through the modernist narrative experiments and was developed over the course of the twentieth century. In Hale's reading, the art of the novel becomes defined with increasing explicitness as an aesthetics of alterity made visible as a formalist ethics. In fact, it is this commitment to otherness as a narrative act which has conferred on the genre an artistic intensity and richness that extends to the novel's every word.
In The Skin, Curzio Malaparte extends the great fresco of European society he began in Kaputt. There the scene was Eastern Europe, here it is Italy during the years from 1943 to 1945; instead of Germans, the invaders are the American armed forces. In all the literature that derives from the Second World War, there is no other book that so brilliantly or so woundingly presents triumphant American innocence against the background of the European experience of destruction and moral collapse.
Life sucks for 18-year-old Sidney Shaw.Her mom's a drunk. Her dad disappears for weeks at a time. It's better when he's gone.At school, she's betrayed and bullied by her ex-best friend. To make matters worse, cutting can't bring the relief she craves anymore. Something's gotta give. When she punches a kid to protect her little brother, Sidney's forced into group counseling with perfect, popular Arianna, who looks like the type to grieve over a broken nail. But Arianna has secrets of her own. She might just be an ally, if Sidney can let her guard down.And then there's the new guy, Lucas, who sees straight through Sidney's tough, snarky façade. But Sidney's wounds go deeper than anyone knows. As her father's abuse escalates, her secrets threaten to unravel her. How far is she willing to go to protect her family? And who can she turn to when the unthinkable happens?A gut-wrenching exploration of trauma and resilience, the redemptive power of friendship, and how we piece our broken selves back together, one shard at a time.