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When his father died, Harrison Candelaria Fletcher wasn’t quite two. His mother packed up his father’s belongings, put the boxes in a hall closet, and closed the door. The “man in a box” remained a mystery, hardly mentioned, and making only rare appearances in stories when Fletcher or his siblings inquired. Meanwhile, his young Hispanic mother transformed herself into an artist, scouting the back roads and secondhand shops of New Mexico for relics and unlikely treasures to add to her “little shrines,” or descansos. “Look closely,” she’d say to her son. “Everything tells a story.” This book is Fletcher’s literary descanso, a piecing together—from moments and objects and words—of a father’s life, of the life lived without that father, and of his own mixed-race identity. Fletcher’s reflections unfold like a collage, offering a rich array of images and stories of life with his single mother, organizing weekend family car trips to explore graveyards and adobe ruins; of growing up on the fault lines of class and culture; of being a father who never had one of his own to learn from. From incidents and observations, Fletcher assembles a beautifully crafted portrait of his family’s unspoken affliction with loss over the decades, a portrait that finally evokes the father at its heart.
Winner of the 2015 Autumn House Nonfiction Prize, selected by Dinty W. Moore
Innovative and lyrical essays about the search for belonging while straddling white and Latinx identities.
Named a Best Book of the Year by The Washington Post, Time, NPR, Amazon,Vice, Bustle, The New York Times, The Guardian, Kirkus Reviews, Entertainment Weekly, The AV Club, & Audible A New York Times Bestseller “One of the most compelling protagonists modern fiction has offered in years: a loopy, quietly furious pillhead whose Ambien ramblings and Xanaxed b*tcheries somehow wend their way through sad and funny and strange toward something genuinely profound.” — Entertainment Weekly “Darkly hilarious . . . [Moshfegh’s] the kind of provocateur who makes you laugh out loud while drawing blood.” —Vogue From one of our boldest, most celebrated new literary voices, a novel about a young woman's efforts to duck the ills of the world by embarking on an extended hibernation with the help of one of the worst psychiatrists in the annals of literature and the battery of medicines she prescribes. Our narrator should be happy, shouldn't she? She's young, thin, pretty, a recent Columbia graduate, works an easy job at a hip art gallery, lives in an apartment on the Upper East Side of Manhattan paid for, like the rest of her needs, by her inheritance. But there is a dark and vacuous hole in her heart, and it isn't just the loss of her parents, or the way her Wall Street boyfriend treats her, or her sadomasochistic relationship with her best friend, Reva. It's the year 2000 in a city aglitter with wealth and possibility; what could be so terribly wrong? My Year of Rest and Relaxation is a powerful answer to that question. Through the story of a year spent under the influence of a truly mad combination of drugs designed to heal our heroine from her alienation from this world, Moshfegh shows us how reasonable, even necessary, alienation can be. Both tender and blackly funny, merciless and compassionate, it is a showcase for the gifts of one of our major writers working at the height of her powers.
The memoir of Shen, age 12 at the start of the Cultural Revolution in 1966, recounts being complicit in arduous Red Guard activities that directly or indirectly led to several gruesome deaths of political "enemies"--And later falling in love with and marrying the daughter of a man brutally tortured and killed by one of his fellow Red Guards.
Rescuing the family ranch is the only reason Callie Cummings is home. To do that she must face the most infuriating—yet irresistible—man on the planet! Years ago she had an unforgettable fling with Declan O'Neill. And, oh my, can he still fill out a pair of jeans. Watching him strut across a corral is like waving a red flag. With that kind of enticement, how can Callie not be head over heels in lust with Deck again? Steamy sex aside, Callie's visit is strictly temporary. Nothing—and no one—can keep her from her big-city life. But if that's really true, why are thoughts of her and Deck riding into the sunset so tempting?
As technology advances and digital devices infiltrate our homes, it is important to monitor how our kids are using these items. But how can you decrease your kids' overreliance on technology without stifling their freedom or making them "outsiders" amongst their peers? It can seem that there is no satisfactory solution to this dilemma, but do not despair-the assistance you need is in your hands! In this book, Dr. Joe Dilley shares his profoundly effective three-step process that will facilitate your kids' transition away from overuse of technology and toward more responsible and mindful use, so they unplug from devices and reconnect with your family in organic, lasting ways. Book jacket.
What is “identity” when you’re a girl adopted as an infant by a Cuban American family of Jehovah’s Witnesses? The answer isn’t easy. You won’t find it in books. And you certainly won’t find it in the neighborhood. This is just the beginning of Joy Castro’s unmoored life of searching and striving that she’s turned to account with literary alchemy in Island of Bones. In personal essays that plumb the depths of not-belonging, Castro takes the all-too-raw materials of her adolescence and young adulthood and views them through the prism of time. The result is an exquisitely rendered, richly detailed perspective on a uniquely troubled young life that reflects on the larger questions each of us faces in a world where diversity and singularity are forever at odds. In the experiences of her past—hunger and abuse, flight as a fourteen-year-old runaway, single motherhood, the revelations of her “true” ethnic identity, the suicide of her father—Castro finds the “jagged, smashed place of edges and fragments” that she pieces together to create an island all her own. Hers is a complicated but very real depiction of what it is to “jump class,” to not belong but to find one’s voice in the interstices of identity.
In this candid and moving memoir, John W. Evans articulates the complicated joys of falling in love again as a young widower. Though heartbroken after his wife’s violent death, Evans realizes that he cannot remain inconsolable and adrift, living with his in-laws in Indiana. Motivated by a small red X on a map, Evans musters the courage for a cross-country trip. From the Badlands to Yellowstone to the foothills of the Sierra Mountains, Evans’s hope and determination propel him even as he contemplates his vulnerability and the legacy of a terrible tragedy. Should I Still Wish chronicles Evans’s efforts to leave an intense year of grief behind, to make peace with the natural world again, and to reconnect with a woman who promises, like San Francisco itself, a life of abundance and charm. With unflinching honesty Evans plumbs the uncertainties, doubts, and contradictions of a paradoxical experience in this love story, celebration of fatherhood, meditation on the afterlife of grief and resilience, and, ultimately, showcase for life’s many profound incongruities.
In a heartwarming, insightful memoir, a harried working father describes how, driven by a lack of communication with his wife, a lack of connection with his children, and his emphasis on work over family, he made the decision to make sure that he would be home at six p.m. to enjoy a healthy meal with his family, five nights a week, for the next year. Reprint.