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When Westley, the big truck, breaks down one day, he wonders if he is just a pile of junk until Diesel, a wise old truck, helps him see things differently.
This is a story of a man's journey, searching for the answers to his sons' questions. As the man learns the truth-how one person was able to do an unspeakable thing to make herself feel better on the pain and humiliation of an innocent man-he is haunted in his dreams by his past. The only way he can find peace is for the people that caused the pain and humiliation to reveal the truth and answer his sons' questions. The consequences of that decision ends in reality.
Riding With the Big Boys is a real-life account of an aspiring novelist trying to support his family by driving an eighteen-wheeler across the country, while waiting for publishers' response to his first U.S. novel. It is written in the shape of a diary, as a mixture of daily duties, falling hopes, financial stress, and panoramic sceneries shifting one after another, from Big Planes to the Rockies, from Newark Airport to Columbia River. It also reveals the parallel world of one of America's most impressive sub-societies, the life of the Big Boys - long distance truckers who spend the best years of their lives living inside their "sleepers."
William and Zera were childhood sweethearts who got married after high school. That's where the joy in their lives ended! William was off to fight in Vietnam, in service to his country that asked thousands of young men to give up their lifestyles to become soldiers. Like so many other families, William and Zera's lives were uprooted and changed forever. Torn apart by the war, they tried to hold on as best they could. When news came to Zera of William's death, nothing could repair the pain she felt. Time seems to heal all wounds and soon Zera met Steve. Although she felt uneasy about it, Zera began dating Steve and they were married. Many years passed before Zera got the shock of her life. One day, there was a phone call, then a visit. When Zera opened her door, of course who should be standing there but William! Zera couldn't believe it. Neither could Zera's current husband, Steve, who actually served with William in the war. Zera was forced to make "e;a hard decision."e; Who to continue her life with? Could you make such a choice? So, who does Zera choose? And what shocking conclusion does the author keep hidden until the very end? The book is a tribute to the spirit and strength of every human being and what makes people do the things they do. There is something with which every reader will be able to identify. The book combines love, war, loss, family, friendship, death and all of the elements of daily life that anyone could humanly experience.
There was nothing left to do but walk. Walk miles down the highway, town after town, from one state to the other. After the leaps and bounds mankind achieved, this is what we are reduced to. Walking. Go North, they say. There's hope in the North, where the spiders haven't found us… Yet.
Mark has been in and out of hospital his whole life - and he's fed up. So when his cancer returns, he decides he's had enough. Running away with his dog Beau, he sets out to climb a mountain - and it's only when he's left everything behind that Mark realises he has everything to live for.
This book addresses the unique and profound indeterminacy of “Creole,” a label applied to white, black, and mixed-race persons born in French colonies during the nineteenth century. "Creole” implies that the geography of one’s birth determines identity in ways that supersede race, language, nation, and social status. Paradoxically, the very capaciousness of the term engendered a perpetual search for visual signs of racial difference as well as a pretense to blindness about the intermingling of races in Creole society. Darcy Grimaldo Grigsby reconstructs the search for visual signs of racial difference among people whose genealogies were often repressed. She explores French representations of Creole subjects and representations by Creole artists in France, the Caribbean, and the Americas. To do justice to the complexity of Creole identity, Grigsby interrogates the myriad ways in which people defined themselves in relation to others. With close attention to the differences between Afro-Creole and Euro-Creole cultures and persons, Grigsby examines figures such as Théodore Chassériau, Guillaume Guillon-Lethière, Alexandre Dumas père, Édouard Manet, Edgar Degas, the models Joseph and Laure, Josephine Bonaparte, Jeanne Duval, and Adah Isaacs Menken. Based on extensive archival research, Creole is an original and important examination of colonial identity. This essential study will be welcomed by specialists in nineteenth-century art history, French cultural history, the history of race, and transatlantic history more generally.