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Del Rio, California, a once-thriving Central Valley farm town, is now filled with run-down Dollar Stores, llanterias, carnicerias, and shabby mini-marts that sell one-way bus tickets straight to Tijuana on the Flecha Amarilla line. It’s a place you drive through with windows up and doors locked, especially at night—a place the locals call Cartel Country. While it’s no longer the California of postcards, for local District Attorney Callie McCall, her dying hometown is the perfect place to launch a political career and try to make a difference. But when the dismembered body of a migrant teen is found in one of Del Rio’s surrounding citrus groves, Callie faces a career make-or-break case that takes her on a dangerous journey down the violent west coast of Mexico, to a tropical paradise hiding a terrible secret, and finally back home again, where her determination to find the killer pits her against the wealthiest, most politically connected, most ruthless farming family in California: her own.
“Jones crosses into the noir badlands of No Country for Old Men—bloody and throwing sparks but cool as a killer angel—and by sundown he owns the joint.” —Will Christopher Baer, author of Kiss Me, Judas Smuggler Dodd Raines just got the job of a lifetime. He’ll finally earn enough money to secure a decent future for his young daughter and start over on the right side of the law. There’s just one catch: his cargo is made up of moon rocks—with mass-casualty levels of radiation. Getting across the border from Mexico into the United States isn’t easy, even though Raines has done it hundreds of times. If the blazing sun and hungry coyotes don’t take him down, the border cop obsessed with catching him will. And then there are the moon rocks. No one delivering them is meant to survive—especially after already being killed. But that’s the twist. One that transforms Raines into an undead rabbit-eared monster starving for vengeance, on a path straight into his orphaned daughter’s life . . . “A pitch-perfect noir tale of love and revenge.” —The Denver Post “No other writer could have done this. Period. Stephen Graham Jones has built a story out of radioactive scrap metal that anyone else would have rendered as kitsch. But with Jones, the diary of a rabbit-headed zombie chupacabra shepherd is absolutely convincing and utterly moving.” —Craig Clevenger, author of Mother Howl and The Contortionist’s Handbook
From Lovecraft to Borges to Gaiman, a century of intrepid literary experimentation has created a corpus of dark and strange stories that transcend all known genre boundaries. Together these stories form The Weird, and its practitioners include some of the greatest names in twentieth and twenty-first century literature. Exotic and esoteric, The Weird plunges you into dark domains and brings you face to face with surreal monstrosities. You won't find any elves or wizards here...but you will find the biggest, boldest, and downright most peculiar stories from the last hundred years bound together in the biggest Weird collection ever assembled. The Weird features 110 stories by an all-star cast, from literary legends to international bestsellers to Booker Prize winners: including William Gibson, George R. R. Martin, Stephen King, Angela Carter, Kelly Link, Franz Kafka, China Miéville, Clive Barker, Haruki Murakami, M. R. James, Neil Gaiman, Mervyn Peake, and Michael Chabon. The Weird is the winner of the 2012 World Fantasy Award for Best Anthology At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
Science fiction often operates as either an extended metaphor for human relationships or as a genuine attempt to encounter the alien Other. Both types of stories tend to rehearse the processes of colonialism, in which a sympathetic protagonist encounters and tames the unknown. Despite this logic, Native American writers have claimed the genre as a productive space in which they can critique historical colonialism and reassert the value of Indigenous worldviews. Encountering the Sovereign Other proposes a new theoretical framework for understanding Indigenous science fiction, placing Native theorists like Vine Deloria Jr. and Gregory Cajete in conversation with science fiction theorists like Darko Suvin, David Higgins, and Michael Pinsky. In response to older colonial discourses, many contemporary Indigenous authors insist that readers acknowledge their humanity while recognizing them as distinct peoples who maintain their own cultures, beliefs, and nationhood. Here author Miriam C. Brown Spiers analyzes four novels: William Sanders’s The Ballad of Billy Badass and the Rose of Turkestan, Stephen Graham Jones’s It Came from Del Rio, D. L. Birchfield’s Field of Honor, and Blake M. Hausman’s Riding the Trail of Tears. Demonstrating how Indigenous science fiction expands the boundaries of the genre while reinforcing the relevance of Indigenous knowledge, Brown Spiers illustrates the use of science fiction as a critical compass for navigating and surviving the distinct challenges of the twenty-first century.
The first full modern English version of Del Río’s treatise, unrivalled in its breadth, detail, and scholarship, on the occult sciences as they were understood, experienced, and combatted at the end of the sixteenth century.
The most comprehensive treatise on all aspects of magic, witchcraft, and allied subjects produced in the early modern period.
A penetrating analysis of the construction of Latina/o stardom in U.S. film, television, and celebrity culture since the 1920s