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From the author of the New York Times bestselling Natchez Burning trilogy and the Penn Cage series, and hailed by Dan Brown (The Da Vinci Code) for his “utterly consuming” suspense fiction, Greg Iles melds forensic detail with penetrating insight in this novel that delves in the heart of a killer in a Mississippi town. Some memories live deep in the soul, indelible and dangerous, waiting to be resurrected… Forensic dentist “Cat” Ferry is suspended from an FBI task force when the world-class expert is inexplicably stricken with panic attacks and blackouts while investigating a chain of brutal murders. Returning to her Mississippi hometown, Cat finds herself battling with alcohol, plagued by nightmares, and entangled with a married detective. Then, in her childhood bedroom, some spilled chemicals reveal two bloody footprints…and the trauma of her father’s murder years earlier comes flooding back. Facing the secrets of her past, Cat races to connect them to a killer’s present-day violence. But what emerges is the frightening possibility that Cat herself might have blood on her hands… “As Southern Gothic as it gets” (Kirkus Reviews), Greg Iles’s Blood Memory “will have readers turning pages at a breakneck pace” (New Orleans Times-Picayune).
Martha Graham, dancer, choreographer, & teacher, has been called the most important & influential American artist ever born. From her birth in 1894 to her death in 1991, she remained an uncompromising individualist who sought nothing less than to map the mysterious landscape of the human soul. This book is Graham's own account of her life & career. Contains portraits of artists & innovators she has worked with: Louise Brooks, Helen Keller, Aaron Copland, Isamu Noguchi, plus students: Gregory Peck, Bette Davis, Rudolf Nureyev, Margot Fonteyn, Mikhail Baryshnikov, Liza Minnelli, & Madonna. More than 100 photos.
Shocked when an old friend destroys himself by walking into the sunlight in front of her, vampire Eleisha Clevon finds herself the target of two very special police detectives with some unique gifts of their own and a knowledge of who and what she really is. Original.
Investigative reporter Catherine McLeod is covering a claim filed by the Arapaho and Cheyenne tribes for twenty-seven million acres of their ancestral lands. Her relentless pursuit of the truth will make her the target of a killer?and plunge her into a conspiracy that leads into the past, the founding of Denver, and her own heritage.
Poetry. Jewish Studies. Writing about the Holocaust can be difficult now, not that it was ever easy. It has become myth or something people use as a metaphor for something they object to; those who know, who went through it, are dying off. Those who deny what happened multiply. To make fresh powerful poems rooted in Shoah is amazing.--Marge Piercy
In this literary novel set in nineteenth-century Texas, a Tejana lesbian cowgirl embarks on an adventure after the fall of the Alamo. Micaela Campos witnesses the violence against Mexicans, African Americans, and indigenous peoples after the infamous battles of the Alamo and of San Jacinto, both in 1836. Resisting an easy opposition between good versus evil and brown versus white characters, the novel also features Micaela’s Mexican-Anglo cousin who assists and hinders her progress. Micaela’s travels give us a new portrayal of the American West, populated by people of mixed races who are vexed by the collision of cultures and politics. Ultimately, Micaela’s journey and her romance with a Black/American Indian woman teach her that there are no easy solutions to the injustices that birthed the Texas Republic . . . This novel is an intervention in queer history and fiction with its love story between two women of color in mid-nineteenth-century Texas. Pérez also shows how a colonial past still haunts our nation’s imagination. The battles of the Alamo and San Jacinto offered freedom and liberty to Texans, but what is often erased from the story is that common people who were Mexican, Indian, and Black did not necessarily benefit from the influx of so many Anglo immigrants to Texas. The social themes and identity issues that Pérez explores—political climate, debates over immigration, and historical revision of the American West—are current today. “Pérez’s sparse, clean writing style is a blend of Cormac McCarthy, Carson McCullers, and Annie Proulx. This makes for a quick and engrossing reading experience as the narrative has a fluid quality about it.” —Alicia Gaspar de Alba, professor and chair of Chicana and Chicano Studies, University of California, Los Angeles, and author of Sor Juana’s Second Dream “Riveting . . . Emma Pérez captures well the violence and the chaos of the southwest borderlands during the time of territorial and international disputes in the 1800s. . . . Perez vividly depicts the conflicts between nations with the authority of a historian and with language belonging to a poet. A fine, fine read.” —Helena Maria Viramontes, author of Their Dogs Came with Them “Pérez’s new novel . . . Powerfully presents a revenge tale from an unusual point of view, that of a displaced Chicana in 1836 Texas. . . . The writing is sharp and clever. The dialogue is realistic.” —Lambda Literary, Lambda Award Finalist “Filled with lush beauty, harshness, and horrifying brutality, this is one of those books in which you just KNOW what’s going to happen at the end—but you’re wrong.” —The Gay & Lesbian Review
A Globe and Mail Top 100 Book of the Year A Quill & Quire Book of the Year A CBC Books Nonfiction Book of the Year A Maclean’s 20 Books You Need to Read this Winter “An instant classic that demands to be read with your heart open and with a perspective widened to allow in a whole new understanding of family, identity and love.” —Cherie Dimaline In this bestselling memoir, a son who grew up away from his Indigenous culture takes his Cree father on a trip to the family trapline and finds that revisiting the past not only heals old wounds but creates a new future The son of a Cree father and a white mother, David A. Robertson grew up with virtually no awareness of his Indigenous roots. His father, Dulas—or Don, as he became known—lived on the trapline in the bush in Manitoba, only to be transplanted permanently to a house on the reserve, where he couldn’t speak his language, Swampy Cree, in school with his friends unless in secret. David’s mother, Beverly, grew up in a small Manitoba town that had no Indigenous people until Don arrived as the new United Church minister. They married and had three sons, whom they raised unconnected to their Indigenous history. David grew up without his father’s teachings or any knowledge of his early experiences. All he had was “blood memory”: the pieces of his identity ingrained in the fabric of his DNA, pieces that he has spent a lifetime putting together. It has been the journey of a young man becoming closer to who he is, who his father is and who they are together, culminating in a trip back to the trapline to reclaim their connection to the land. Black Water is a memoir about intergenerational trauma and healing, about connection and about how Don’s life informed David’s own. Facing up to a story nearly erased by the designs of history, father and son journey together back to the trapline at Black Water and through the past to create a new future.
In late February and early March of 1836, the Mexican Army under the command of General Antonio López de Santa Anna besieged a small force of Anglo and Tejano rebels at a mission known as the Alamo. The defenders of the Alamo were in an impossible situation. They knew very little of the events taking place outside the mission walls. They did not have much of an understanding of Santa Anna or of his government in Mexico City. They sent out contradictory messages, they received contradictory communications, they moved blindly and planned in the dark. And in the dark early morning of March 6, they died. In that brief, confusing, and deadly encounter, one of America's most potent symbols was born. The story of the last stand at the Alamo grew from a Texas rallying cry, to a national slogan, to a phenomenon of popular culture and presidential politics. Yet it has been a hotly contested symbol from the first. Questions remain about what really happened: Did William Travis really draw a line in the sand? Did Davy Crockett die fighting, surrounded by the bodies of two dozen of the enemy? And what of the participants' motives and purposes? Were the Texans justified in their rebellion? Were they sincere patriots making a last stand for freedom and liberty, or were they a ragtag collection of greedy men-on-the-make, washed-up politicians, and backwoods bullies, Americans bent on extending American slavery into a foreign land? The full story of the Alamo -- from the weeks and months that led up to the fateful encounter to the movies and speeches that continue to remember it today -- is a quintessential story of America's past and a fascinating window into our collective memory. In A Line in the Sand, acclaimed historians Randy Roberts and James Olson use a wealth of archival sources, including the diary of José Enrique de la Peña, along with important and little-used Mexican documents, to retell the story of the Alamo for a new generation of Americans. They explain what happened from the perspective of all parties, not just Anglo and Mexican soldiers, but also Tejano allies and bystanders. They delve anew into the mysteries of Crockett's final hours and Travis's famous rhetoric. Finally, they show how preservationists, television and movie producers, historians, and politicians have become the Alamo's major interpreters. Walt Disney, John Wayne, and scores of journalists and cultural critics have used the Alamo to contest the very meaning of America, and thereby helped us all to "remember the Alamo."
In Sovereign Stories, Annette Angela Portillo examines Native American women’s autobiographical discourses and multiple-voiced life stories that resist generic conventional notions of first-person narrative. She argues that these “sovereign stories” and “blood memories” not only reveal the multilayered histories and identities shared by each author, but demonstrate how their narratives are grounded in ancestral memory and land. These autobiographies recall settler-colonialism, deterritorialization, and genocide as the writers and activist-scholars reclaim their voices across cultural, national, and digital boundaries. Portillo provides close readings of memoirs, life stories, oral histories, blogs, social media sites, and experimental multigenre narratives including those by Delfina Cuero, Ruby Modesto, Leslie Marmon Silko, Pretty-Shield, Zitkala-Sa, and Sarah Winnemucca Hopkins.