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DigiCat Publishing presents to you this special edition of "The Young Captives" (A Story of Judah and Babylon) by Erasmus W. Jones. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
One choice could destroy them all. When eighteen-year-old Levi returned from Denver City with his latest scavenged finds, he never imagined he’d find his village of Glenrock decimated, loved ones killed, and many—including his fiancée, Jem—taken captive. Now alone, Levi is determined to rescue what remains of his people, even if it means entering the Safe Lands, a walled city that seems anything but safe. Omar knows he betrayed his brother by sending him away, but helping the enforcers was necessary. Living off the land and clinging to an outdated religion holds his village back. The Safe Lands has protected people since the plague decimated the world generations ago ... and its rulers have promised power and wealth beyond Omar’s dreams. Meanwhile, their brother Mason has been granted a position inside the Safe Lands, and may be able to use his captivity to save not only the people of his village, but also possibly find a cure for the virus that threatens everyone within the Safe Lands’ walls. Will Mason uncover the truth hidden behind the Safe Lands’ façade before it’s too late?
The captivity narrative, the earliest genre of American popular literature, continues to be of cultural significance in late 20th-century Hollywood. Many popular films of the last four decades incorporate the most common elements of the captivity narrative tradition, including a politically contested frontier setting and a plot involving innocent, family-oriented white Americans held captive by hostile, culturally alien natives. At the same time, these films offer something new to the narrative tradition: they focus on the captive who resists rescue and the challenge this resistance poses to American cultural self-confidence. By focusing on the lost captive, these films, beginning with The Searchers (1956), deal with questions about American identity raised by a white American's cultural and potentially political transformation. Films as diverse as Little Big Man, Taxi Driver, and The Deer Hunter adapted the captivity narrative's conventions to criticize aspects of contemporary American society and reject outworn models of male heroism; at the same time, however, they retained the genre's traditional assumption of white superiority and its fear of female sexuality. Bibliography. Index.