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At 391 years old, Gabriel Graves is no ordinary undertaker. His funeral enterprise, Deep Graves, is a revered institution, but underneath his success lies a tormenting regret. Haunted by the tragic loss of his sister Elizabeth to the Black Death in 1665, Gabriel embarks on a perilous journey through time to rescue her from death's embrace. But time travel is a dangerous gamble, fraught with unpredictable consequences. Landing in the plague-ridden London of the past, Gabriel faces a tremendous challenge: stripped of his vampiric powers, he must gain the favor of the undead twins, Isadore and Isadora, guardians of the immortal blood. All while contending with the swirling rumors about his true nature, surprise visits from Octavia Thornhill, a fledgling who might hold a grudge against him, and Malm Westminster, a plague doctor with a terrible secret. "Deep Graves" is the electrifying second volume in the Thornhill Vampire Chronicles, weaving a dark tale of love, loss and the bonds of blood and loyalty that bind across centuries.
In powerful, vivid verse, the master behind The Watch That Ends the Night recounts one of history’s most harrowing—and chilling—tales of survival. In 1846, a group of emigrants bound for California face a choice: continue on their planned route or take a shortcut into the wilderness. Eighty-nine of them opt for the untested trail, a decision that plunges them into danger and desperation and, finally, the unthinkable. From extraordinary poet and novelist Allan Wolf comes a riveting retelling of the ill-fated journey of the Donner party across the Sierra Nevadas during the winter of 1846–1847. Brilliantly narrated by multiple voices, including world-weary, taunting, and all-knowing Hunger itself, this novel-in-verse examines a notorious chapter in history from various perspectives, among them caravan leaders George Donner and James Reed, Donner’s scholarly wife, two Miwok Indian guides, the Reed children, a sixteen-year-old orphan, and even a pair of oxen. Comprehensive back matter includes an author’s note, select character biographies, statistics, a time line of events, and more. Unprecedented in its detail and sweep, this haunting epic raises stirring questions about moral ambiguity, hope and resilience, and hunger of all kinds.
Josh doesn't like people looking at him and he's in the school play Can Miss Button help him to be brave? And can Miss Button be brave when she is faced by something she doesn't like? This series introduces young children to different aspects of our emotions and behaviour. A fictional story is backed up by suggestions for activities and ideas to talk about, while a wordless storyboard encourages children to tell another story.
Bella always needs to win—no matter what. At summer Fun Club, she gets mad whenever someone beats her in a game. When she struggles during a tent-making competition, Bella would rather give up than keep trying. Can she learn to do her best and feel good about it, even if she’s not the winner? With the help of the club leader, Bella discovers that she can make a tent, even if it’s not the best tent—and that being a good sport feels much better than being a sore loser.
For writer, professor, and activist Marlena Graves, formation and justice always intertwine on the path to a balanced life of both action and contemplation. Drawing on the rich traditions of Eastern and Western Christian saints, she describes the process of emptying herself that allows her to move upward toward God and become the true self that God calls her to.
Maria Stepanova is one of the most powerful and distinctive voices of Russia’s first post-Soviet literary generation. An award-winning poet and prose writer, she has also founded a major platform for independent journalism. Her verse blends formal mastery with a keen ear for the evolution of spoken language. As Russia’s political climate has turned increasingly repressive, Stepanova has responded with engaged writing that grapples with the persistence of violence in her country’s past and present. Some of her most remarkable recent work as a poet and essayist considers the conflict in Ukraine and the debasement of language that has always accompanied war. The Voice Over brings together two decades of Stepanova’s work, showcasing her range, virtuosity, and creative evolution. Stepanova’s poetic voice constantly sets out in search of new bodies to inhabit, taking established forms and styles and rendering them into something unexpected and strange. Recognizable patterns of ballads, elegies, and war songs are transposed into a new key, infused with foreign strains, and juxtaposed with unlikely neighbors. As an essayist, Stepanova engages deeply with writers who bore witness to devastation and dramatic social change, as seen in searching pieces on W. G. Sebald, Marina Tsvetaeva, and Susan Sontag. Including contributions from ten translators, The Voice Over shows English-speaking readers why Stepanova is one of Russia’s most acclaimed contemporary writers.
"A lyrical, monumental work of fact and imagination." — Kirkus Reviews (starred review) Arrogance and innocence, hubris and hope — twenty-four haunting voices of the Titanic tragedy, as well as the iceberg itself, are evoked in a stunning tour de force. Slipping in telegraphs, undertaker’s reports, and other records, poet Allan Wolf offers a breathtaking, intimate glimpse at the lives behind the tragedy, told with clear-eyed compassion and astounding emotional power.
This book considers the cemetery uncovered outside the north gate of Venta Belgarum, Roman Winchester, and analyses in detail both the graves and their contents. There are detailed studies and important re-assessments of many categories of object, but it is the information about late Roman burial, religion, and society which is of special interest.
Excavations at Mucking, Essex, between 1965 and 1978, revealed extensive evidence for a multiphase rural Romano-British settlement, perhaps an estate center, and five associated cemetery areas (170 burials) with different burial areas reserved for different groups within the settlement. The settlement demonstrated clear continuity from the preceding Iron Age occupation with unbroken sequences of artefacts and enclosures through the first century AD, followed by rapid and extensive remodeling, which included the laying out a Central Enclosure and an organized water supply with wells, accompanied by the start of large-scale pottery production. After the mid-second century AD the Central Enclosure was largely abandoned and settlement shifted its focus more to the Southern Enclosure system with a gradual decline though the 3rd and 4th centuries although continued burial, pottery and artefactual deposition indicate that a form of settlement continued, possibly with some low-level pottery production. Some of the latest Roman pottery was strongly associated with the earliest Anglo-Saxon style pottery suggesting the existence of a terminal Roman settlement phase that essentially involved an ‘Anglo-Saxon’ community. Given recent revisions of the chronology for the early Anglo-Saxon period, this casts an intriguing light on the transition, with radical implications for understandings of this period. Each of the cemetery areas was in use for a considerable length of time. Taken as a whole, Mucking was very much a componented place/complex; it was its respective parts that fostered its many cemeteries, whose diverse rites reflect the variability and roles of the settlement’s evidently varied inhabitants.