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Modern American poets writing in the face of death In Last Looks, Last Books, the eminent critic Helen Vendler examines the ways in which five great modern American poets, writing their final books, try to find a style that does justice to life and death alike. With traditional religious consolations no longer available to them, these poets must invent new ways to express the crisis of death, as well as the paradoxical coexistence of a declining body and an undiminished consciousness. In The Rock, Wallace Stevens writes simultaneous narratives of winter and spring; in Ariel, Sylvia Plath sustains melodrama in cool formality; and in Day by Day, Robert Lowell subtracts from plenitude. In Geography III, Elizabeth Bishop is both caught and freed, while James Merrill, in A Scattering of Salts, creates a series of self-portraits as he dies, representing himself by such things as a Christmas tree, human tissue on a laboratory slide, and the evening/morning star. The solution for one poet will not serve for another; each must invent a bridge from an old style to a new one. Casting a last look at life as they contemplate death, these modern writers enrich the resources of lyric poetry.
NOW A MAJOR MOTION PICTURE! A razor-sharp, exquisitely paced, madly fun debut thriller that gleefully lampoons Hollywood culture and introduces the highly eccentric yet brilliant ex-detective gone rogue: Charlie Waldo There are run-of-the-mill eccentric Californians, and then there's former detective Charlie Waldo. Waldo, a onetime LAPD superstar, now lives in solitude deep in the woods, pathologically committed to owning no more than one hundred possessions. He has left behind his career and his girlfriend, Lorena, to pay self-imposed penance for an awful misstep on a pivotal murder case. But the old ghosts are about to come roaring back. There are plenty of difficult actors in Hollywood, and then there's Alastair Pinch. Alastair is a onetime Royal Shakespeare Company thespian who now slums it as the "wise" Southern judge on a tacky network show. He's absurdly rich, often belligerent, and typically drunk—a damning combination when Alastair's wife is found dead on their living room floor and he can't remember what happened. Waldo's old flame Lorena, hiding peril of her own, draws him toward the case, and Alastair's greedy network convinces Waldo to take it on. But after such a long time away from both civilization and sleuthing—and plagued by a confounding array of assailants who want him gone—Waldo must navigate complicated webs of ego and deceit to clear Alastair's name...or confirm his guilt.
Presents a collection of poetry in which the author transforms autobiographical insights and experiences into profound meditations on life and the world around him.
From New York Times bestselling author Mariah Stewart comes a novel of sexy romantic suspense for fans of Nora Roberts, Catherine Coulter, and Karen Robards. THE TRUTH WON’T STAY BURIED. News that the body of a recently murdered prostitute–stabbed repeatedly and dumped on Georgia’s Shelter Island–has been identified as Shannon Randall stuns the FBI, particularly special agent Dorsey Collins. Twenty-four years ago, nineteen-year-old Eric Louis Beale was convicted and later executed for Shannon’ s murder–and the agent in charge of the case was Dorsey’s father. Now Dorsey is determined to find out where her father’s investigation went wrong, what part he played in the death of an innocent man, and where Shannon has been all this time. The heat is on FBI special agent Andrew Shields to discover what happened to Shannon on that night decades ago–to find out who killed her and why. Dorsey shadows Andrew’s every investigative move, hoping to redeem her father’s reputation and capture a cunning killer. Together, Dorsey and Andrew unravel a shocking mystery that will shatter one family and rock an entire town.
A true graphic milestone: the epic trilogy that began with X'ed Out, continued in The Hive, and concluded in Sugar Skull—now in one volume. The long strange trip of Doug in all its mind-bending, heartbreaking totality. The fragments of the past collide with the reality of the present, nightmarish dreams evolve into an even more dreadful reality, and when you finally find out where all of this has been going, and what it means . . . it will make you go right back to the first page and read it all again with new eyes. Just like Doug. (With full-color illustrations throughout)
With characteristic precision, authority, and grace, Vendler helps readers to appreciate the conception and practice of poetry as she explores four poets and their first "perfect" works. 4 halftones.
A Times Higher Education Book of the Week One of our foremost commentators on poetry examines the work of a broad range of nineteenth- and twentieth-century English, Irish, and American poets. The Ocean, the Bird, and the Scholar gathers two decades’ worth of Helen Vendler’s essays, book reviews, and occasional prose—including the 2004 Jefferson Lecture—in a single volume. “It’s one of [Vendler’s] finest books, an impressive summation of a long, distinguished career in which she revisits many of the poets she has venerated over a lifetime and written about previously. Reading it, one can feel her happiness in doing what she loves best. There is scarcely a page in the book where there isn’t a fresh insight about a poet or poetry.” —Charles Simic, New York Review of Books “Vendler has done perhaps more than any other living critic to shape—I might almost say ‘create’—our understanding of poetry in English.” —Joel Brouwer, New York Times Book Review “Poems are artifacts and [Vendler] shows us, often thrillingly, how those poems she considers the best specimens are made...A reader feels that she has thoroughly absorbed her subjects and conveys her understanding with candor, clarity, wit.” —John Greening, Times Literary Supplement
Eccentric private eye Charlie Waldo is back in another wildly fun and fast-paced thriller lampooning Southern California. Former LAPD detective Charlie Waldo was living in solitude deep in the woods, pathologically committed to owning no more than one hundred possessions, until his PI ex-girlfriend Lorena dragged him back to civilization to solve a high-profile Hollywood murder. Now Waldo and Lorena have their hands full with a new client, a wild and privileged L.A. teenager named Stevie Rose who tells lies as easily as she breathes. When the teacher Stevie claims seduced her turns up dead, the LAPD pegs her as the prime suspect. Then Stevie disappears, and her self-involved Hollywood parents turn to Waldo to find her—a task that draws him down into Orange County’s dangerous and complex worlds, both opulent and seedy, where nothing is as it seems. With treachery and deception at every turn, and with Waldo’s eco-obsessed rules for living complicating his already complicated relationship with Lorena, Waldo fends off enemies old and new as he races to find Stevie and solve the murder.
An epic quest exposes hidden truths about Leonardo da Vinci’s Salvator Mundi, the recently discovered masterpiece that sold for $450 million—and might not be the real thing. In 2017, Leonardo da Vinci’s small oil painting the Salvator Mundi was sold at auction. In the words of its discoverer, the image of Christ as savior of the world is “the rarest thing on the planet.” Its $450 million sale price also makes it the world’s most expensive painting. For two centuries, art dealers had searched in vain for the Holy Grail of art history: a portrait of Christ as the Salvator Mundi by Leonardo da Vinci. Many similar paintings of greatly varying quality had been executed by Leonardo’s assistants in the early sixteenth century. But where was the original by the master himself? In November 2017, Christie’s auction house announced they had it. But did they? The Last Leonardo tells a thrilling tale of a spellbinding icon invested with the power to make or break the reputations of scholars, billionaires, kings, and sheikhs. Ben Lewis takes us to Leonardo’s studio in Renaissance Italy; to the court of Charles I and the English Civil War; to Amsterdam, Moscow, and New Orleans; to the galleries, salerooms, and restorer’s workshop as the painting slowly, painstakingly emerged from obscurity. The vicissitudes of the highly secretive art market are charted across six centuries. It is a twisting tale of geniuses and oligarchs, double-crossings and disappearances, in which we’re never quite certain what to believe. Above all, it is an adventure story about the search for lost treasure, and a quest for the truth. Praise for The Last Leonardo “The story of the world’s most expensive painting is narrated with great gusto and formidably researched detail in Ben Lewis’s book. . . . Lewis’s probings of the Salvator’s backstory raise questions about its historical status and visibility, and these lead in turn to the fundamental question of whether the painting is really an autograph work by Leonardo.”—Charles Nicholl, The Guardian “As the art historian and critic Ben Lewis shows in his forensically detailed and gripping investigation into the history, discovery and sales of the painting, establishing the truth is like nailing down jelly.”— Michael Prodger, The Sunday Times
Killer Looks is the definitive story about the long-forgotten practice of providing free nose jobs, face-lifts, breast implants, and other physical alterations to prisoners, the idea being that by remodeling the face you remake the man. From the 1920s up to the mid-1990s, half a million prison inmates across America, Canada, and the U.K willingly went under the knife, their tab picked up by the government. In the beginning, this was a haphazard affair -- applied inconsistently and unfairly to inmates, but entering the 1960s, a movement to scientifically quantify the long-term effect of such programs took hold. And, strange as it may sound, the criminologists were right: recidivism rates plummeted. In 1967, a three-year cosmetic surgery program set on Rikers Island saw recidivism rates drop 36% for surgically altered offenders. The program, funded by a $240,000 grant from the Department of Health, Education, and Welfare, was led by Dr. Michael Lewin, who ran a similar program at Sing-Sing prison in 1953. Killer Looks draws on the intersectionality of socioeconomic success, racial bias, the prison industry complex and the fallacy of attractiveness to get to the heart of how appearance and societal approval creates self-worth, and uncovers deeper truths of beauty bias, inherited racism, effective recidivism programs, and inequality. ,