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"Charming, melancholy, hip."--Publishers Weekly, starred review "Zapruder's innovative style is provocative in its unusual juxtapositions of line, image and enjambments. . . . Highly recommended."--Library Journal Matthew Zapruder's third book mixes humor and invention with love and loss, as when the breath of a lover is compared to "a field of titanium gravestones / growing warmer in the sun." The title poem is an elegy for the heroes and mentors in the poet's life--from David Foster Wallace to the poet's father. Zapruder's poems are direct and surprising, and throughout the book he wrestles with the desire to do well, to make art, and to face the vast events of the day. Look out scientists! Today the unemployment rate is 9.4 percent. I have no idea what that means. I tried to think about it harder for a while. Then tried standing in an actual stance of mystery and not knowing towards the world. Which is my job. As is staring at the back yard and for one second believing I am actually rising away from myself. Which is maybe what I have in common right now with you . . . Matthew Zapruder holds degrees from Amherst College, UC Berkeley, and the University of Massachusetts. He is the author of two previous books, including The Pajamaist, which won the William Carlos Williams Award and was honored by Library Journal with a "Best Poetry Book of the Year" listing. He lives in San Francisco and is an editor at Wave Books.
"Charming, melancholy, hip."—Publishers Weekly, starred review "Zapruder's innovative style is provocative in its unusual juxtapositions of line, image and enjambments. . . . Highly recommended."—Library Journal Matthew Zapruder's third book mixes humor and invention with love and loss, as when the breath of a lover is compared to "a field of titanium gravestones / growing warmer in the sun." The title poem is an elegy for the heroes and mentors in the poet's life—from David Foster Wallace to the poet's father. Zapruder's poems are direct and surprising, and throughout the book he wrestles with the desire to do well, to make art, and to face the vast events of the day. Look out scientists! Today the unemployment rate is 9.4 percent. I have no idea what that means. I tried to think about it harder for a while. Then tried standing in an actual stance of mystery and not knowing towards the world. Which is my job. As is staring at the back yard and for one second believing I am actually rising away from myself. Which is maybe what I have in common right now with you . . . Matthew Zapruder holds degrees from Amherst College, UC Berkeley, and the University of Massachusetts. He is the author of two previous books, including The Pajamaist, which won the William Carlos Williams Award and was honored by Library Journal with a "Best Poetry Book of the Year" listing. He lives in San Francisco and is an editor at Wave Books.
Jacqui Germain’s poems in When the Ghosts Come Ashore situate St. Louis as the archetypal American city: it’s here she explores the intersections of race, gender, and violence, here she finds the ghosts of those who still hunger for freedom. But Germain still carves out space for love. As Phillip B. Williams writes of these poems, “Placelessness is the place, leaving only the unsafety of flesh as a hideout. Black presences break from the margins and pierce through these hard lyrics.”
Aspiring to be the fastest sprinter on his elite middle school's track team, gifted runner Ghost finds his goal challenged by a tragic past with a violent father.
A “thought-provoking and powerful” study that reframes everything you’ve been taught about addiction and recovery—from the New York Times–bestselling author of The Myth of Normal (Bruce Perry, author of The Boy Who Was Raised as a Dog). A world-renowned trauma expert combines real-life stories with cutting-edge research to offer a holistic approach to understanding addiction—its origins, its place in society, and the importance of self-compassion in recovery. Based on Gabor Maté’s two decades of experience as a medical doctor and his groundbreaking work with people with addiction on Vancouver’s skid row, this #1 international bestseller radically re-envisions a much misunderstood condition by taking a compassionate approach to substance abuse and addiction recovery. In the same vein as Bessel van der Kolk’s The Body Keeps the Score, In the Realm of Hungry Ghosts traces the root causes of addiction to childhood trauma and examines the pervasiveness of addiction in society. Dr. Maté presents addiction not as a discrete phenomenon confined to an unfortunate or weak-willed few, but as a continuum that runs throughout—and perhaps underpins—our society. It is not a medical “condition” distinct from the lives it affects but rather the result of a complex interplay among personal history, emotional and neurological development, brain chemistry, and the drugs and behaviors of addiction. Simplifying a wide array of brain and addiction research findings from around the globe, the book avoids glib self-help remedies, instead promoting a thorough and compassionate self-understanding as the first key to healing and wellness. Dr. Maté argues persuasively against contemporary health, social, and criminal justice policies toward addiction and how they perpetuate the War on Drugs. The mix of personal stories—including the author’s candid discussion of his own “high-status” addictive tendencies—and science with positive solutions makes the book equally useful for lay readers and professionals.
Everything happens for a reason. At least that's what everyone keeps telling Liam Cooper after his older brother Ethan is killed suddenly in a hit-and-run. Feeling more alone and isolated than ever, Liam has to not only learn to face the world without one of the people he loved the most, but also face the fading relationships of his two best friends in the process. Soon, Liam finds themself spending time with Ethan's best friend, Marcus, who might just be the only person that seems to know exactly what they're going through-for better and for worse. The Ghosts We Keep is an achingly honest portrayal of grief. But it is also about why we live. Why we have to keep moving on, and why we should.
In the mid 19th century, a religious movement called Spiritualism spread across America. Spiritualists believe that the living could communicate with the dead. Complete with ghostly black-and-white photographs, this suspenseful book tells the story of twelve-year-old Liza Carroll and her little brother as they try to find answers and hide a secret while staying at a spooky Spiritualist commune. After twelve-year-old Liza Carroll and her ten-year-old brother John's parents die, they are placed in the custody of their uncle, a traveling photographer named Mr. Spencer. Mr. Spencer, realizing the gift he has in his young relatives, uses them to help create fraudulent spirit photographs, which he sells to the grieving. Chased from one town to another, they arrive at a settlement that is different than the others they've been to-a Spiritualist commune in Pennsylvania named the Silver Star Society. Things feel different here. They are told they are at a Thin Place between the worlds of the living and the spirits. Shadows haunt the halls, and strange forms appear in Liza's photographs. Is this real, or is she the one being tricked this time? As Liza and her brother begin to investigate, the Thin Place begins to break, threatening everyone at the society. Can they fix it in time? And will their secret they've been hiding be revealed?
An impassioned call for a return to reading poetry and an incisive argument for poetry’s accessibility to all readers, by critically acclaimed poet Matthew Zapruder In Why Poetry, award-winning poet Matthew Zapruder takes on what it is that poetry—and poetry alone—can do. Zapruder argues that the way we have been taught to read poetry is the very thing that prevents us from enjoying it. In lively, lilting prose, he shows us how that misunderstanding interferes with our direct experience of poetry and creates the sense of confusion or inadequacy that many of us feel when faced with it. Zapruder explores what poems are, and how we can read them, so that we can, as Whitman wrote, “possess the origin of all poems,” without the aid of any teacher or expert. Most important, he asks how reading poetry can help us to lead our lives with greater meaning and purpose. Anchored in poetic analysis and steered through Zapruder’s personal experience of coming to the form, Why Poetry is engaging and conversational, even as it makes a passionate argument for the necessity of poetry in an age when information is constantly being mistaken for knowledge. While he provides a simple reading method for approaching poems and illuminates concepts like associative movement, metaphor, and negative capability, Zapruder explicitly confronts the obstacles that readers face when they encounter poetry to show us that poetry can be read, and enjoyed, by anyone.
WINNER OF THE 2015 BRAM STOKER AWARD FOR SUPERIOR ACHIEVEMENT IN A NOVEL A chilling thriller that brilliantly blends psychological suspense and supernatural horror, reminiscent of Stephen King's The Shining, Shirley Jackson's The Haunting of Hill House, and William Peter Blatty's The Exorcist. The lives of the Barretts, a normal suburban New England family, are torn apart when fourteen-year-old Marjorie begins to display signs of acute schizophrenia. To her parents’ despair, the doctors are unable to stop Marjorie’s descent into madness. As their stable home devolves into a house of horrors, they reluctantly turn to a local Catholic priest for help. Father Wanderly suggests an exorcism; he believes the vulnerable teenager is the victim of demonic possession. He also contacts a production company that is eager to document the Barretts’ plight. With John, Marjorie’s father, out of work for more than a year and the medical bills looming, the family agrees to be filmed, and soon find themselves the unwitting stars of The Possession, a hit reality television show. When events in the Barrett household explode in tragedy, the show and the shocking incidents it captures become the stuff of urban legend. Fifteen years later, a bestselling writer interviews Marjorie’s younger sister, Merry. As she recalls those long ago events that took place when she was just eight years old, long-buried secrets and painful memories that clash with what was broadcast on television begin to surface—and a mind-bending tale of psychological horror is unleashed, raising vexing questions about memory and reality, science and religion, and the very nature of evil.
“An intense snapshot of the chain reaction caused by pulling a trigger.” —Booklist (starred review) “Astonishing.” —Kirkus Reviews (starred review) “A tour de force.” —Publishers Weekly (starred review) A Newbery Honor Book A Coretta Scott King Honor Book A Printz Honor Book A Time Best YA Book of All Time (2021) A Los Angeles Times Book Prize Winner for Young Adult Literature Longlisted for the National Book Award for Young People’s Literature Winner of the Walter Dean Myers Award An Edgar Award Winner for Best Young Adult Fiction Parents’ Choice Gold Award Winner An Entertainment Weekly Best YA Book of 2017 A Vulture Best YA Book of 2017 A Buzzfeed Best YA Book of 2017 An ode to Put the Damn Guns Down, this is New York Times bestselling author Jason Reynolds’s electrifying novel that takes place in sixty potent seconds—the time it takes a kid to decide whether or not he’s going to murder the guy who killed his brother. A cannon. A strap. A piece. A biscuit. A burner. A heater. A chopper. A gat. A hammer A tool for RULE Or, you can call it a gun. That’s what fifteen-year-old Will has shoved in the back waistband of his jeans. See, his brother Shawn was just murdered. And Will knows the rules. No crying. No snitching. Revenge. That’s where Will’s now heading, with that gun shoved in the back waistband of his jeans, the gun that was his brother’s gun. He gets on the elevator, seventh floor, stoked. He knows who he’s after. Or does he? As the elevator stops on the sixth floor, on comes Buck. Buck, Will finds out, is who gave Shawn the gun before Will took the gun. Buck tells Will to check that the gun is even loaded. And that’s when Will sees that one bullet is missing. And the only one who could have fired Shawn’s gun was Shawn. Huh. Will didn’t know that Shawn had ever actually USED his gun. Bigger huh. BUCK IS DEAD. But Buck’s in the elevator? Just as Will’s trying to think this through, the door to the next floor opens. A teenage girl gets on, waves away the smoke from Dead Buck’s cigarette. Will doesn’t know her, but she knew him. Knew. When they were eight. And stray bullets had cut through the playground, and Will had tried to cover her, but she was hit anyway, and so what she wants to know, on that fifth floor elevator stop, is, what if Will, Will with the gun shoved in the back waistband of his jeans, MISSES. And so it goes, the whole long way down, as the elevator stops on each floor, and at each stop someone connected to his brother gets on to give Will a piece to a bigger story than the one he thinks he knows. A story that might never know an END…if Will gets off that elevator. Told in short, fierce staccato narrative verse, Long Way Down is a fast and furious, dazzlingly brilliant look at teenage gun violence, as could only be told by Jason Reynolds.