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One Road-one Destiny-two men. Two men and on road; lives forever changed and not for the better. Mark and Kevin leave two bars late at night and come face to face with a horror so indescribable that only Hell can say what is next. You will not like the answer. Fasten your seat belt if it makes you feel any better. It doesn't make a difference.
In a novel set in an indefinite, futuristic, post-apocalyptic world, a father and his young son make their way through the ruins of a devastated American landscape, struggling to survive and preserve the last remnants of their own humanity
Introduction : what's the harm? -- The discovery of drunk driving -- Science and government enter the fray -- The MADD mothers take charge -- The movement matures and splinters -- Lamb, lightner, and libertarians : a backlash -- Conclusion: more (and more) stories.
SOON TO BE A NEW FILM, STREAMING ON MAX FALL OF 2024 • #1 BESTSELLER • Ben Mears has returned to Jerusalem’s Lot in hopes that exploring the history of the Marsten House, an old mansion long the subject of rumor and speculation, will help him cast out his personal devils and provide inspiration for his new book. "A master storyteller." —The Los Angeles Times When two young boys venture into the woods, and only one returns alive, Mears begins to realize that something sinister is at work. In fact, his hometown is under siege from forces of darkness far beyond his imagination. And only he, with a small group of allies, can hope to contain the evil that is growing within the borders of this small New England town. With this, his second novel, Stephen King established himself as an indisputable master of American horror, able to transform the old conceits of the genre into something fresh and all the more frightening for taking place in a familiar, idyllic locale.
Recounts the life and career of Croatian filmmaker Rajko Grlić in the form of a lexicon of film terms tied to anecdotes spanning Grlić’s life. “I read a lot this year. Old, new, borrowed, blue. This was the best. The paradox of reading something so avidly that you can’t put it down and then I got to the last 20 pages slowing down to a snail’s pace and reading so slowly so that it wouldn’t be over so quickly.”—Mike Downey, European Film Academy From his post-Nazi-era childhood in Yugoslavia to his college years during the 1968 invasion of Prague, the Yugoslav dissolution wars, and his subsequent exile in the United States, these personal stories combine to provide insight into socialist film industries, contextualizing south Slavic film while also highlighting its contacts with Western filmmakers and film industry. From the introduction by Aida Vidan: The one hundred and seventy-seven film terms provide sometimes a direct and at other times a metaphoric path to Grlić’s stories and concurrently serve as a self-referential mechanism to comment on a series of film attributes. The entries can be read in any order, allowing for the reader’s own “montage” of the book’s universe.... Grlić adroitly captures the absurdities and paradoxes in one’s life resulting from the sort of tectonic shifts with which East European history abounds.
Travel writer Jill Curtis is drawn into a deadly blend of rivalry, resentment and romance gone wrong when she stumbles into a bourbon war between two Kentucky families in this first in an intoxicating new cozy mystery series. Travel writer Jill Curtis loves her job, but she desperately needs a break if she’s to achieve her dream of becoming an investigative reporter. Sent to Kentucky by her boss to find out why thousands of tourists flock to Bourbon Country every year, Jill’s dream seems to be slipping further away. After all, nothing interesting ever happens in rural America . . . does it? Staying at an estranged relative’s B&B, Jill’s plan to uncover what makes the state’s bourbon tours so popular goes awry when she discovers a body at one of the distilleries and quickly becomes a suspect in a brutal murder. Can she navigate high-stakes bourbon rivalries, centuries-old family feuds and ill-fated romance to catch a killer?
Don’t drink and drive. It's a deceptively simple rule, but one that is all too often ignored. And while efforts to eliminate drunk driving have been around as long as automobiles, every movement to keep drunks from driving has hit some alarming bumps in the road. Barron H. Lerner narrates the two strong—and vocal—sides to this debate in the United States: those who argue vehemently against drunk driving, and those who believe the problem is exaggerated and overregulated. A public health professor and historian of medicine, Lerner asks why these opposing views exist, examining drunk driving in the context of American beliefs about alcoholism, driving, individualism, and civil liberties. Angry and bereaved activist leaders and advocacy groups like Mothers Against Drunk Driving campaign passionately for education and legislation, but even as people continue to be killed, many Americans remain unwilling to take stronger steps to address the problem. Lerner attributes this attitude to Americans’ love of drinking and love of driving, an inadequate public transportation system, the strength of the alcohol lobby, and the enduring backlash against Prohibition. The stories of people killed and maimed by drunk drivers are heartrending, and the country’s routine rejection of reasonable strategies for ending drunk driving is frustratingly inexplicable. This book is a fascinating study of the culture of drunk driving, grassroots and professional efforts to stop it, and a public that has consistently challenged and tested the limits of individual freedom. Why, despite decades and decades of warnings, do people still choose to drive while intoxicated? One for the Road provides crucial historical lessons for understanding the old epidemic of drunk driving and the new epidemic of distracted driving.