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Warm and hopeful, this is a touching and honest depiction of a family changing together-and staying together. "I wonder what people would think if they could take the front off our house like a doll's house and watch us. All in the same house, but everyone separate. No one talking, but everyone thinking the same thing. Will we ever be a normal family again?" Izzy's family is under the spotlight when her dad comes out as Danielle, a trans woman. Izzy is terrified her family will be torn apart. Will she lose her dad? Will her parents break up? And what will people at school say? Now all eyes are on Izzy. Can she face her fears, find her voice, and stand up for her family and what's right?
This isn’t a romance of easy solutions. It’s a love story between two men who should never have come together. In Andrew’s world, nothing much happens. His days with his wife and son are content, if not passionate. The new neighbors are about to change all that Nathan is looking forward to the arrival of his new baby and his first teaching job. Then he meets Andrew, and his world turns upside down. Tension morphs into passion and it’s obvious to everyone, however hard they try to hide it. Even from each other. But Andrew and Nathan love their families too. Making decisions is never easy and in a small cul-de-sac, the two men have hard choices to make. Do they follow their hearts or their responsibilities? CW: Cheating
The debut novella from one of contemporary fiction's most exciting young voices, now in a new edition. Salem, Massachusetts, 1851: McGlue is in the hold, still too drunk to be sure of name or situation or orientation--he may have killed a man. That man may have been his best friend. Intolerable memory accompanies sobriety. A-sail on the high seas of literary tradition, Ottessa Moshfegh gives us a nasty heartless blackguard on a knife-sharp voyage through the fogs of recollection. They said I've done something wrong? . . . And they've just left me down here to starve. They'll see this inanition and be so damned they'll fall to my feet and pass up hot cross buns slathered in fresh butter and beg I forgive them. All of them . . . : the entire world one by one. Like a good priest I'll pat their heads and nod. I'll dunk my skull into a barrel of gin.
A New York Times Book Review Notable Book of 2017 An electrifying first collection from one of the most exciting short story writers of our time "I can’t recall the last time I laughed this hard at a book. Simultaneously, I’m shocked and scandalized. She’s brilliant, this young woman."—David Sedaris Ottessa Moshfegh's debut novel Eileen was one of the literary events of 2015. Garlanded with critical acclaim, it was named a book of the year by The Washington Post and the San Francisco Chronicle, nominated for a National Book Critics Circle Award, short-listed for the Man Booker Prize, and won the PEN/Hemingway Award for debut fiction. But as many critics noted, Moshfegh is particularly held in awe for her short stories. Homesick for Another World is the rare case where an author's short story collection is if anything more anticipated than her novel. And for good reason. There's something eerily unsettling about Ottessa Moshfegh's stories, something almost dangerous, while also being delightful, and even laugh-out-loud funny. Her characters are all unsteady on their feet in one way or another; they all yearn for connection and betterment, though each in very different ways, but they are often tripped up by their own baser impulses and existential insecurities. Homesick for Another World is a master class in the varieties of self-deception across the gamut of individuals representing the human condition. But part of the unique quality of her voice, the echt Moshfeghian experience, is the way the grotesque and the outrageous are infused with tenderness and compassion. Moshfegh is our Flannery O'Connor, and Homesick for Another World is her Everything That Rises Must Converge or A Good Man is Hard to Find. The flesh is weak; the timber is crooked; people are cruel to each other, and stupid, and hurtful. But beauty comes from strange sources. And the dark energy surging through these stories is powerfully invigorating. We're in the hands of an author with a big mind, a big heart, blazing chops, and a political acuity that is needle-sharp. The needle hits the vein before we even feel the prick.
For use in schools and libraries only. When Eva sits on her stoop trying to complete a school assignment by writing about what happens in her neighborhood, she gets a great deal of advice and action.
An accessible child-centred story about self-acceptance and the importance of opening up to those closest to you. Becky and Josh are almost-twins, with two mums and the same anonymous donor dad. Josh can't wait until he's eighteen, the legal age when he can finally contact his donor, and he'll do anything to find out more - even if it involves lying. Becky can't stop thinking about her new friend, Carli. Could her feelings for Carli be a sign of something more? Becky and Josh both want their parents to be proud of them...but right now, they're struggling to even accept themselves. Praise for Sarah Hagger-Holt's debut, Nothing Ever Happens Here "A barrier-breaking, empathy-inducing story for all." LoveReading4Kids "I can't wait for kids to read it - it's a book a lot of people need right now." Jay Hulme, award-winning poet "Compassionate and sweet and full of people trying their best. Highly recommended." Robin Stevens "Pitch perfect as far as I'm concerned. I wish there'd been books like this in my day." Christine Burns MBE, British Political Activist
Reader, don’t waste your time with this book. You might as well stick this book back on the shelf. Or toss it under your bed. You don’t need to read it because nothing happens. Or, wait, is that something? It’s a trumpet without a trumpeter. And there’s a tiny car without a driver. And a baton without a twirler. Maybe if you keep turning the pages, you’ll find out who is missing these items. Maybe they are all together, about to do something surprising. Maybe something does happen after all — something amazing! Kids will be hooked as they embark on a quest to find this (seemingly) missing story!
Soothing stories to help you fall and stay asleep, based on the popular podcast Busy minds need a place to rest. Whether you find yourself struggling to sleep, awake in the middle of the night, or even just anxious as you move through the day, in Nothing Much Happens, Kathryn Nicolai offers a healthy way to ease the mind before bed: through the timeless appeal of classic bedtime stories. Already beloved by millions of podcast listeners, the stories in Nothing Much Happens explore and expose small sweet moments of joy and relaxation: Sneaking lilacs from an abandoned farm in the spring. Watching fireflies from the deck in the summer. Visiting the local cider mill in the autumn. Watching the tree lighting in the park with friends in the winter. You'll also find sixteen new stories never before featured on the podcast, along with whimsical illustrations, recipes, and meditations. Using her decades of experience as a meditation and yoga teacher, Kathryn Nicolai creates a world for you to slip into, one rich in sensory experience that quietly teaches mindfulness and self-compassion, soothes frayed nerves, and builds solid habits for nurturing sleep. A PENGUIN LIFE TITLE
Through films that alternate between containment, order, and symmetry on the one hand, and obsession, explosiveness, and a lack of control on the other, Chantal Akerman has gained a reputation as one of the most significant filmmakers working today. Her 1975 film Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles is widely regarded as the most important feminist film of that decade. In Nothing Happens, Ivone Margulies presents the first comprehensive study of this influential avant-garde Belgian filmmaker. Margulies grounds her critical analysis in detailed discussions of Akerman's work--from Saute ma ville, a 13-minute black-and-white film made in 1968, through Jeanne Dielman and Je tu il elle to the present. Focusing on the real-time representation of a woman's everyday experience in Jeanne Dielman, Margulies brings the history of social and progressive realism and the filmmaker's work into perspective. Pursuing two different but related lines of inquiry, she investigates an interest in the everyday that stretches from postwar neorealist cinema to the feminist rewriting of women's history in the seventies. She then shows how Akerman's "corporeal cinema" is informed by both American experiments with performance and duration and the layerings present in works by European modernists Bresson, Rohmer, and Dreyer. This analysis revises the tired opposition between realism and modernism in the cinema, defines Akerman's minimal-hyperrealist aesthetics in contrast to Godard's anti-illusionism, and reveals the inadequacies of popular characterizations of Akerman's films as either simply modernist or feminist. An essential book for students of Chantal Akerman's work, Nothing Happens will also interest international film critics and scholars, filmmakers, art historians, and all readers concerned with feminist film theory.
My name is Amber Reynolds. There are three things you should know about me: 1. I’m in a coma. 2. My husband doesn’t love me anymore. 3. Sometimes I lie. Amber wakes up in a hospital. She can’t move. She can’t speak. She can’t open her eyes. She can hear everyone around her, but they have no idea. Amber doesn’t remember what happened, but she has a suspicion her husband had something to do with it. Alternating between her paralyzed present, the week before her accident, and a series of childhood diaries from twenty years ago, this brilliant psychological thriller asks: Is something really a lie if you believe it's the truth?