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Baltimore senior editor Ron Cassie has garnered national awards for his coverage of the death of Freddie Gray, sea-level rise on the Eastern Shore, and the opioid epidemic in Hagerstown. This collection of short stories, culled from a decade spent roaming around Charm City with a notebook in his back pocket, is different, however. They are of the kind of wide-ranging city writing and literary journalism that speaks directly to the fabric of a place. There are encounters with former Rep. Elijah Cummings, former Senator Barbara Mikulski, and Orioles Hall-of-Famer Jim Palmer. But more often, these stories revolve around people few Baltimoreans have heard of--a blind police detective, old Jewish boxers, a flower shop owner, the city native who created the statue of Billie Holiday in Upton. Each story makes the picture of Baltimore and its work-a-day inhabitants--gritty, resilient, quirky--clearer and more complex at the same time.
Longlisted for the 2018 PEN America Literary Awards In these nine stories, Marian Crotty inhabits the lives of people searching for human connection. Her characters, most often young women, are honest, troubled, and filled with longing. The stories are set in Arizona, North Carolina, Pennsylvania, Maryland, and the Persian Gulf, and often touch on themes of addiction, class, sexuality, and gender. What Counts as Love is a poignant, often funny collection that asks us to take it and its characters seriously.
NEW YORK TIMES EDITORS’ CHOICE • The astonishing true story of “one of the most startling police corruption scandals in a generation” (The New York Times), from the Pulitzer Prize–nominated reporter who exposed a gang of criminal cops and their yearslong plunder of an American city NOW AN HBO SERIES FROM THE WIRE CREATOR DAVID SIMON AND GEORGE PELECANOS “A work of journalism that not only chronicles the rise and fall of a corrupt police unit but can stand as the inevitable coda to the half-century of disaster that is the American drug war.”—David Simon Baltimore, 2015. Riots are erupting across the city as citizens demand justice for Freddie Gray, a twenty-five-year-old Black man who has died under suspicious circumstances while in police custody. Drug and violent crime are surging, and Baltimore will reach its highest murder count in more than two decades: 342 homicides in a single year, in a city of just 600,000 people. Facing pressure from the mayor’s office—as well as a federal investigation of the department over Gray’s death—Baltimore police commanders turn to a rank-and-file hero, Sergeant Wayne Jenkins, and his elite plainclothes unit, the Gun Trace Task Force, to help get guns and drugs off the street. But behind these new efforts, a criminal conspiracy of unprecedented scale was unfolding within the police department. Entrusted with fixing the city’s drug and gun crisis, Jenkins chose to exploit it instead. With other members of the empowered Gun Trace Task Force, Jenkins stole from Baltimore’s citizens—skimming from drug busts, pocketing thousands in cash found in private homes, and planting fake evidence to throw Internal Affairs off their scent. Their brazen crime spree would go unchecked for years. The results were countless wrongful convictions, the death of an innocent civilian, and the mysterious death of one cop who was shot in the head, killed just a day before he was scheduled to testify against the unit. In this urgent book, award-winning investigative journalist Justin Fenton distills hundreds of interviews, thousands of court documents, and countless hours of video footage to present the definitive account of the entire scandal. The result is an astounding, riveting feat of reportage about a rogue police unit, the city they held hostage, and the ongoing struggle between American law enforcement and the communities they are charged to serve.
This book offers 101 passive programming ideas that are extendable, adaptable, customizable, and above all, stealable-so your passive programming never runs dry. Passive programming is a cheap, quick, fun way to make all library customers feel like part of the community. It can support reading initiatives, foster family engagement, encourage visit frequency, and coax interaction out of library lurkers-while barely making a dent in your programming budget. Passive programming can be targeted at children, teens, adults, or seniors; used to augment existing programs; and executed in places where staff-led programming can't reach. It can be light-footed, spontaneous, and easily deployed to reflect and respond to current news, media, library events, and even the weather. But even passive programming pros run out of ideas sometimes, and when that happens, they want a fresh, funny source of inspiration.
“A world straight from the pages of an F. Scott Fitzgerald novel . . . An extraordinary story about coming of age . . . and discovering who you are.” —Parade Rescued from a Dumpster on the Upper West Side of Manhattan, a discarded diary brings to life the glamorous, forgotten world of an extraordinary young woman . . . Opening the tarnished brass lock of a red leather diary found in the basement of a New York City apartment building, New York Times writer Lily Koppel embarked on a journey into the past. Compelled by the hopes and heartaches captured in the pages, Koppel set out to find the diary’s owner, a 90-year old woman named Florence. Eventually reunited with her diary, Florence ventured back to the girl she once was, rediscovering a lost self that burned with artistic fervor. Joining intimate interviews with original diary entries, The Red Leather Diary is an evocative and entrancing work that recreates the romance and glitter, sophistication and promise, of 1930s New York, bringing to life the true story of a precocious young woman who dared to follow her dreams. “Melds three life-affirming subjects—Florence Wolfson’s journal of life in 1930s Manhattan, Koppel’s discovery of it in a Dumpster decades later, and the meeting of the two women—into one enchanting memoir.” —Elle “[An] amazing story . . . A highbrow fairy tale . . . Much of the book’s emotional power derives from the drama of an old woman reclaiming a past that was almost lost to her . . . Koppel writes with flair.” —Chicago Tribune