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The leading contemporary writer in the Basque language offers a collection of poems on themes of love and ordinary living, family history and the deep history of a place, superstition and technology, being native and being an alien.
On a transatlantic flight between Bilbao and New York City, a fictional version of Kirmen Uribe recalls three generations of family history—the inspiration for the novel he wants to write—and ponders how the sea has shaped their stories. The day he knew he was going to die, our narrator’s grandfather took his daughter-in-law to the Fine Arts Museum in Bilbao, the de facto capital of the Basque region of northern Spain, to show her a painting with ties to their family. Years later, her son Kirmen traces those ties back through the decades, knotting together moments from early twentieth-century art history with the stories of his ancestors’ fishing adventures—and tragedies—in the North Atlantic Ocean. Elegant, fluid storytelling is punctuated by scenes from Kirmen’s flight, from security line to airport bar to jet cabin, and reflections on the creative writing process. This original and compelling novel earned debut author Kirmen Uribe the prestigious National Prize for Literature in Spain in 2009. Exquisitely translated from Basque to English by Elizabeth Macklin, Bilbao–New York–Bilbao skillfully captures the intersections of many journeys: past and present, physical and artistic, complete and still unfolding. Bilbao–New York–Bilbao is the second book commissioned for the Spatial Species series, edited by Youmna Chlala and Ken Chen. The series investigates the ways we activate space through language. In the tradition of Georges Perec’s An Attempt at Exhausting a Place in Paris, Spatial Species titles are pocket-sized editions, each keenly focused on place. Instead of tourist spots and public squares, we encounter unmarked, noncanonical spaces: edges, alleyways, diasporic traces. Such intimate journeying requires experiments in language and genre, moving travelogue, fiction, or memoir into something closer to eating, drinking, and dreaming.
Take a stroll through the City by the Bay with renowned artist Wendy MacNaughton in this collection of illustrated documentaries. With her beloved city as a backdrop, a sketchbook in hand, and a natural sense of curiosity, MacNaughton spent months getting to know people in their own neighborhoods, drawing them and recording their words. Her street-smart graphic journalism is as diverse and beautiful as San Francisco itself, ranging from the vendors at the farmers' market to people combing the shelves at the public library, from MUNI drivers to the bison of Golden Gate Park, and much more. Meanwhile in San Francisco offers both lifelong residents and those just blowing through with the fog an opportunity to see the city with new eyes.
Winner of the 2023 NAACP Image Award for Outstanding Literary Work - Fiction “Deeply empathetic yet unflinching in its gaze…an unforgettable exploration of responsibility and redemption.”—Celeste Ng Inspired by true events that rocked the nation, a searing and compassionate new novel about a Black nurse in post-segregation Alabama who blows the whistle on a terrible injustice done to her patients, from the New York Times bestselling author of Wench Montgomery, Alabama, 1973. Fresh out of nursing school, Civil Townsend intends to make a difference, especially in her African American community. At the Montgomery Family Planning Clinic, she hopes to help women shape their destinies, to make their own choices for their lives and bodies. But when her first week on the job takes her along a dusty country road to a worn-down one-room cabin, Civil is shocked to learn that her new patients, Erica and India, are children—just eleven and thirteen years old. Neither of the Williams sisters has even kissed a boy, but they are poor and Black, and for those handling the family’s welfare benefits, that’s reason enough to have the girls on birth control. As Civil grapples with her role, she takes India, Erica, and their family into her heart. Until one day she arrives at their door to learn the unthinkable has happened, and nothing will ever be the same for any of them. Decades later, with her daughter grown and a long career in her wake, Dr. Civil Townsend is ready to retire, to find her peace, and to leave the past behind. But there are people and stories that refuse to be forgotten. That must not be forgotten. Because history repeats what we don’t remember. Inspired by true events and brimming with hope, Take My Hand is a stirring exploration of accountability and redemption. “Highlights the horrific discrepancies in our healthcare system and illustrates their heartbreaking consequences.”—Essence
In this choose-your-own adventure graphic novel, a boy stumbles on the laboratory of a mad scientist who asks him to choose between testing a mind-reading device, a time machine, and a doomsday machine.
Master of new noir Dennis Lehane magnificently evokes the dignity and savagery of working-class Boston in Darkness, Take My Hand, a terrifying tale of redemption. Patrick Kenzie and Angela Gennaro’s latest client is a prominent Boston psychiatrist, running scared from a vengeful Irish mob. The private investigators know about cold-blooded retribution. Born and bred on the mean streets of blue-collar Dorchester, they’ve seen the darkness that lives in the hearts of the unfortunate. But an evil for which even they are unprepared is about to strike, as secrets that have long lain dormant erupt, setting off a chain of violent murders that will stain everything – including the truth. With razor-sharp dialogue and penetrating prose, Darkness, Take My Hand is another superior crime novel from the author of Mystic River; Gone, Baby, Gone; and Shutter Island.
Janis Revell did not come into this world easily. But from the moment she was born she was her mother's love. At the age thirty-four Jan died. She was a gifted, comical, exciting, vibrant, intellectual, and a challenging individual. Her spirituality and sensitivity produced tremendous joy for those who knew her. It is a moving story of joy, family warmth, and of bright achievement tarnished by the coldness and failures of dreary and inefficient bureaucracy and highlights the shining examples set by caring volunteers, in stark contrast to the paid functionaries of grey, faceless and dismissive authority. Above all, this book is a searing indictment of a system in which closing ranks is more important than establishing the truth, and in which the concerns of those who are subject to the system are treated with arrogant dismissiveness. In Take My Hand, Audrey Revell paints a vivid and moving picture of the life and indomitable spirit of her daughter Janis, an exceptionally talented musician and composer despite having lost her sight as a child together with progressive hearing loss. Enduring and overcoming all the difficulties and disappointments of a lifelong fight against the rare and incurable disease Retinitis Pigmentosa. This is a true story of love, dedication, shining devotion and black betrayal by the system. This is Audrey Revell's honest, heart-breaking, funny, powerful, and sometimes controversial story of the life and dreadful, harrowing death of her daughter, written to fulfill a promise she made to Jan before her life support was switched off. It is also a tribute to Janis. It is lovingly and honestly written in unsparing graphic terms in the hope that it will challenge you to a better understanding of many issues. SENSE: "It is a powerful and moving story which goes into some painful and difficult areas." THE FOREST BOOK SHOP: "A powerful and very moving story."
With his stunning debut novel, She's Come Undone, Wally Lamb won the adulation of critics and readers with his mesmerizing tale of one woman's painful yet triumphant journey of self-discovery. Now, this brilliantly talented writer returns with I Know This Much Is True, a heartbreaking and poignant multigenerational saga of the reproductive bonds of destruction and the powerful force of forgiveness. A masterpiece that breathtakingly tells a story of alienation and connection, power and abuse, devastation and renewal--this novel is a contemporary retelling of an ancient Hindu myth. A proud king must confront his demons to achieve salvation. Change yourself, the myth instructs, and you will inhabit a renovated world. When you're the same brother of a schizophrenic identical twin, the tricky thing about saving yourself is the blood it leaves on your bands--the little inconvenience of the look-alike corpse at your feet. And if you're into both survival of the fittest and being your brother's keeper--if you've promised your dying mother--then say so long to sleep and hello to the middle of the night. Grab a book or a beer. Get used to Letterman's gap-toothed smile of the absurd, or the view of the bedroom ceiling, or the influence of random selection. Take it from a godless insomniac. Take it from the uncrazy twin--the guy who beat the biochemical rap. Dominick Birdsey's entire life has been compromised and constricted by anger and fear, by the paranoid schizophrenic twin brother he both deeply loves and resents, and by the past they shared with their adoptive father, Ray, a spit-and-polish ex-Navy man (the five-foot-six-inch sleeping giant who snoozed upstairs weekdays in the spare room and built submarines at night), and their long-suffering mother, Concettina, a timid woman with a harelip that made her shy and self-conscious: She holds a loose fist to her face to cover her defective mouth--her perpetual apology to the world for a birth defect over which she'd had no control. Born in the waning moments of 1949 and the opening minutes of 1950, the twins are physical mirror images who grow into separate yet connected entities: the seemingly strong and protective yet fearful Dominick, his mother's watchful "monkey"; and the seemingly weak and sweet yet noble Thomas, his mother's gentle "bunny." From childhood, Dominick fights for both separation and wholeness--and ultimately self-protection--in a house of fear dominated by Ray, a bully who abuses his power over these stepsons whose biological father is a mystery. I was still afraid of his anger but saw how he punished weakness--pounced on it. Out of self-preservation I hid my fear, Dominick confesses. As for Thomas, he just never knew how to play defense. He just didn't get it. But Dominick's talent for survival comes at an enormous cost, including the breakup of his marriage to the warm, beautiful Dessa, whom he still loves. And it will be put to the ultimate test when Thomas, a Bible-spouting zealot, commits an unthinkable act that threatens the tenuous balance of both his and Dominick's lives. To save himself, Dominick must confront not only the pain of his past but the dark secrets he has locked deep within himself, and the sins of his ancestors--a quest that will lead him beyond the confines of his blue-collar New England town to the volcanic foothills of Sicily 's Mount Etna, where his ambitious and vengefully proud grandfather and a namesake Domenico Tempesta, the sostegno del famiglia, was born. Each of the stories Ma told us about Papa reinforced the message that he was the boss, that he ruled the roost, that what he said went. Searching for answers, Dominick turns to the whispers of the dead, to the pages of his grandfather's handwritten memoir, The History of Domenico Onofrio Tempesta, a Great Man from Humble Beginnings. Rendered with touches of magic realism, Domenico's fablelike tale--in which monkeys enchant and religious statues weep--becomes the old man's confession--an unwitting legacy of contrition that reveals the truth's of Domenico's life, Dominick learns that power, wrongly used, defeats the oppressor as well as the oppressed, and now, picking through the humble shards of his deconstructed life, he will search for the courage and love to forgive, to expiate his and his ancestors' transgressions, and finally to rebuild himself beyond the haunted shadow of his twin. Set against the vivid panoply of twentieth-century America and filled with richly drawn, memorable characters, this deeply moving and thoroughly satisfying novel brings to light humanity's deepest needs and fears, our aloneness, our desire for love and acceptance, our struggle to survive at all costs. Joyous, mystical, and exquisitely written, I Know This Much Is True is an extraordinary reading experience that will leave no reader untouched.
After years apart, James “J.D.” Sullivan had been reunited with his son only to find that single parenthood was harder than he thought. He turned to his long-lost faith, looking for guidance—and found the answer to all his prayers with a blue-eyed schoolteacher named Alexis Richmond. Falling in love was not in her lesson plan, but Alexis Richmond knew she’d lost her heart the moment James Sullivan walked through her classroom door with his nine-year-old son. But would their newfound love be strong enough to overcome the past and give Alexis the family she’s always longed for...?
Our tale begins within a few years after the end of the first quarter of the 17th century, at Boston, in Massachusetts, then in the infancy of its settlement. On an evening in the month of May, were assembled some seven or eight men around a table, in a long, low room, the sides only of which were plastered, the rough beams and joists overhead being exposed to view; the windows were small, and the floor without a carpet; and the furniture consisted of the table, over which was spread a black cloth, whereupon stood several lighted candles in brass candlesticks, of a dozen chairs, covered with russet-colored leather, and of some wooden benches, ranged against the walls, and which were occupied by various persons. At one end of the apartment the floor was raised a few inches, and the chair standing on this elevation differed from the others in having arms at the sides, and in being of ampler proportions, as if by its appearance to vindicate a claim to superior position. But unpretending as was the room, it was a place of no little importance, being no less than the Court Hall and Council Chamber of the "Governor and Company of the Massachusetts Bay, in New England." At the moment of which we are speaking, it was appropriated to a meeting of the Court of Assistants of the Colony.