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On March 17, 2009, while filming a documentary on the Chinese–North Korean border, Laura Ling and her colleague Euna Lee were violently apprehended by North Korean soldiers, charged with trespassing and "hostile acts," and imprisoned by Kim Jong Il's notoriously secretive Communist state. Kept totally apart, they endured months of interrogations and a trial before North Korea's highest court that led to a sentence of twelve years of hard labor in a North Korean prison camp. When news of the arrest reached Laura's sister, journalist Lisa Ling, she immediately began a campaign to get Laura released. Her efforts led her from the State Department to the higher echelons of the media world and eventually to the White House. Lisa takes us deep into the drama between people in the highest levels of government, including Secretary of State Hillary Clinton, former Vice President Al Gore, and eventually former President Bill Clinton, who arrived in North Korea in mid-August for a suspenseful rescue. Somewhere Inside is a timely, inspiring, and page-turning tale of survival set against the canvas of international politics. Writing with their strong, poignant voices, both sisters go beyond the headlines to reveal the unique bond that has sustained them throughout the most horrifying ordeal of their lives.
From “an exceptional storyteller,” Somewhere in the Unknown World is a collection of powerful stories of refugees who have found new lives in Minnesota’s Twin Cities, told by the award-winning author of The Latehomecomer and The Song Poet. All over this country, there are refugees. But beyond the headlines, few know who they are, how they live, or what they have lost. Although Minnesota is not known for its diversity, the state has welcomed more refugees per capita than any other, from Syria to Bosnia, Thailand to Liberia. Now, with nativism on the rise, Kao Kalia Yang—herself a Hmong refugee—has gathered stories of the stateless who today call the Twin Cities home. Here are people who found the strength and courage to rebuild after leaving all they hold dear. Awo and her mother, who escaped from Somalia, reunite with her father on the phone every Saturday, across the span of continents and decades. Tommy, born in Minneapolis to refugees from Cambodia, cannot escape the war that his parents carry inside. As Afghani flees the reach of the Taliban, he seeks at every stop what he calls a certificate of his humanity. Mr. Truong brings pho from Vietnam to Frogtown in St. Paul, reviving a crumbling block as well as his own family. In Yang’s exquisite, necessary telling, these fourteen stories for refugee journeys restore history and humanity to America's strangers and redeem its long tradition of welcome.
Film noir is more than a cinematic genre. It is an essential aspect of American culture. Along with the cowboy of the Wild West, the denizen of the film noir city is at the very center of our mythological iconography. Described as the style of an anxious victor, film noir began during the post-war period, a strange time of hope and optimism mixed with fear and even paranoia. The shadow of this rich and powerful cinematic style can now be seen in virtually every artistic medium. The spectacular success of recent neo-film noirs is only the tip of an iceberg. In the dead-on, nocturnal jazz of Charlie Parker and Miles Davis, the chilled urban landscapes of Edward Hopper, and postwar literary fiction from Nelson Algren and William S. Burroughs to pulp masters like Horace McCoy, we find an unsettling recognition of the dark hollowness beneath the surface of the American Dream. Acclaimed novelist and poet Nicholas Christopher explores the cultural identity of film noir in a seamless, elegant, and enchanting work of literary prose. Examining virtually the entire catalogue of film noir, Christopher identifies the central motif as the urban labyrinth, a place infested with psychosis, anxiety, and existential dread in which the noir hero embarks on a dangerously illuminating quest. With acute sensitivity, he shows how technical devices such as lighting, voice over, and editing tempo are deployed to create the film noir world. Somewhere in the Night guides us through the architecture of this imaginary world, be it shot in New York or Los Angeles, relating its elements to the ancient cultural archetypes that prefigure it. Finally, Christopher builds an explanation of why film noir not only lives on but is currently enjoying a renaissance. Somewhere in the Night can be appreciated as a lucid introduction to a fundamental style of American culture, and also as a guide to film noir's heyday. Ultimately, though, as the work of a bold talent adeptly manipulating poetic cadence and metaphor, it is itself a superb aesthetic artifact.
'And just like that my boy was gone.' Maisie Bean is a fighter. A survivor. Seventeen years ago, she went on a first date that went so badly it was enough to put the girl off chips. The marriage that followed was hell but it gave her two children: funny, caring Jeremy and bullish but brilliant Valerie. Just as it seems everything might finally start going right, sixteen-year-old Jeremy goes missing. The police descend and a media storm swirls, over five days of searching that hurtle towards an inevitable, terrible conclusion. Maisie is facing another fight, and this time it’s the fight of her life. But she’s a survivor. Whatever the odds, she’ll never give in. From the bestselling author of The Last Days of Rabbit Hayes comes this heart-breaking yet uproariously uplifting new novel about love, resilience and the life-changing power of hope.
Jimmy hasn't seen his father in nine years.
Exploring lives on the brink of disaster, R. J. Jacobs returns with another compulsively readable novel of suspense for fans of B. A. Paris and Mary Kubica. Do the mistakes of the past mark us as guilty for life? After a childhood marred by neglect, Jessie Duval's finally got it together. With an apartment in Nashville and a job with a catering company, she's thriving. But all that changes when Jessie works an event where celebrities will be in attendance--including the one person from her past she must avoid at all costs: singer Shelly James. Jessie doesn't hate Shelly. Quite the opposite. One summer, she followed Shelly's tour everywhere. Only, Shelly wasn't flattered; she was terrified by Jessie's devotion--especially after Jessie was arrested. But after a year of therapy, Jessie understands what happened. She's not the same person anymore. Jessie keeps her head down, but when Shelly is found dead, Jessie's troubled past comes tumbling out and she quickly becomes a suspect in the high-profile murder. As the police close in on her, ignoring other credible leads, Jessie realizes Shelly's murder will be pinned on her--the perfect scapegoat--unless she finds the real killer. And no one knows Shelly's life and inner circle better than her. But she will have to go deeper into the dark--if ever she wants to find her way out.
A counting book in rhyme presents various marine animals and their children, from a mother manatee and her little calf one to a mother octopus and her little babies ten. Complete with a glossary, musical score, and numbers hidden in the illustrations.
Somewhere in the city, Lucy’s just not ready to go to bed. She opens her bedroom window and lets in the bustle of the street below. Stores are closing. A scruffy dog sniffs an empty pail. “Daddy’s coming home,” she calls to the dog. Woof-woof, barks the dog. The sights and sounds of the city come alive in a magical way as Lucy waits eagerly for her father to return from work. Watching out the window, Lucy’s view of dogs, bakers, and buses is juxtaposed with her father’s journey through crowds, trains, and finally home to tuck her in. Detailed illustrations contrast a child’s fantastical view of the world with reality, all leading up to a cozy finish that will make this a perfect bedtime book for city children everywhere.
A look at the history of the idea of the objective journalist and how this very ideal can often be used to undercut itself. In The View from Somewhere, Lewis Raven Wallace dives deep into the history of “objectivity” in journalism and how its been used to gatekeep and silence marginalized writers as far back as Ida B. Wells. At its core, this is a book about fierce journalists who have pursued truth and transparency and sometimes been punished for it—not just by tyrannical governments but by journalistic institutions themselves. He highlights the stories of journalists who question “objectivity” with sensitivity and passion: Desmond Cole of the Toronto Star; New York Times reporter Linda Greenhouse; Pulitzer Prize-winner Rachel Kaadzi Ghansah; Peabody-winning podcaster John Biewen; Guardian correspondent Gary Younge; former Buzzfeed reporter Meredith Talusan; and many others. Wallace also shares his own experiences as a midwestern transgender journalist and activist who was fired from his job as a national reporter for public radio for speaking out against “objectivity” in coverage of Trump and white supremacy. With insightful steps through history, Wallace stresses that journalists have never been mere passive observers. Using historical and contemporary examples—from lynching in the nineteenth century to transgender issues in the twenty-first—Wallace offers a definitive critique of “objectivity” as a catchall for accurate journalism. He calls for the dismissal of this damaging mythology in order to confront the realities of institutional power, racism, and other forms of oppression and exploitation in the news industry. The View from Somewhere is a compelling rallying cry against journalist neutrality and for the validity of news told from distinctly subjective voices.
This is a true story of a man going off to war, leaving his wife and four children vulnerable to the world. The story is told by his granddaughter, with the help of information collected by family and friends. This is the story of what happened to her grandparents in the 1930's as they waited for him to leave for battle. He would never return.After his death, the family endured numerous struggles until one morning her whole family would be changed forever by tradgedy. Forty years following her mother's death the granddaughter is ready to tell the story of the worst crime in the history of her community- a tragic crime that would affect her family forever.