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The Case of Lena S. follows the life, loves, and coming-of-age of sixteen-year-old Mason Crowe during a year in which he will learn what it truly means to be in the world. At the centre of the novel is Lena, a troubled girl who has “chosen” Mason and will teach him something of desire and despair. Impulsive, provocative, vulnerable, and sad, Lena becomes haunting for Mason in ways he does not always understand. We meet Mason’s first “love,” an older girl destined for an arranged marriage; his mother, who takes a lover; and a wise and erudite blind man with a voyeuristic streak, to whom Mason reads. Playful, and with deadpan humour, the novel brilliantly captures the yearnings of youth, as well as the tantalizing possibilities and the confounding absurdities that sometimes lie at the heart of our most intimate relationships.
Twelve-year-old Marie is a leader among the popular black girls in Chauncey, Ohio, a prosperous black suburb. She isn't looking for a friend when Lena Bright, a white girl, appears in school. Yet they are drawn to each other because both have lost their mothers. And they know how to keep a secret. For Lena has a secret that is terrifying, and she's desperate to protect herself and her younger sister from their father. Marie must decide whether she can help Lena by keeping her secret... or by telling it.
"This is the story of the first and only woman to be legally executed in the state of Georgia's electric chair. Nearly sixty years after her death, Lena Baker is not forgotten. The small picture hanging in the execution chamber of the Georgia State Prison is a reminder of the persistant question "is justice being served?" --Cover, p. 4.
In his 1929 Hollywood production The Case of Lena Smith, director Josef von Sternberg vividly brought to life his youthful memories of the turn of the 20th century through the story a young woman fighting the oppressive class system of Imperial Vienna. Critic Dwight Macdonald called it "the most completely satisfying American film I have seen." And yet, only a short fragment survives. Assembling 150 original stills and set designs, numerous script and production documents and essays by eminent film historians, the book reconstructs one of the legendary lost masterpieces of the American cinema. It also includes essays by Janet Bergstrom, Gero Gandert, Franz Grafl, Alexander Horwath, Hiroshi Komatsu and Michael Omasta, a preface by Meri von Sternberg, as well as contemporary reviews and excerpts from Viennese literature of the era.
“Powerful and complex . . . [Karin] Slaughter gradually unspools her fascinating story, all the way up to its shocking conclusion.”—Chicago Sun-Times In a small Georgia town, Detective Lena Adams is accused of a vicious murder. A hundred miles away, Police Chief Jeffrey Tolliver learns that his young detective has been arrested. And Jeffrey’s wife, pediatrician and medical examiner Sara Linton, fighting a heartbreaking malpractice suit, is thrust into the center of a bizarre and murderous case. For Lena has fled to the place where she grew up, careening back through the shadows of her past. Now only Jeffrey and Sara can free Lena from the web of lies that has trapped her—as this powerful novel races toward its shattering climax and a final, unforgettable twist. Praise for Karin Slaughter and Beyond Reach “Will leave you breathless.”—USA Today “Slaughter writes with a razor.”—The Plain Dealer “Slaughter will have you on the edge of your seat.”—Seattle Post-Intelligencer
In search of love, absolution, or forgiveness, Charles Boatman leaves the Fraser Valley of British Columbia and returns mysteriously to Vietnam, the country where he fought twenty-nine years earlier as a young, reluctant soldier. But his new encounters seem irreconcilable with his memories. When he disappears, his daughter Ada, and her brother, Jon, travel to Vietnam, to the streets of Danang and beyond, to search for him. Their quest takes them into the heart of a country that is at once incomprehensible, impassive, and beautiful. Chasing her father’s shadow for weeks, following slim leads, Ada feels increasingly hopeless. Yet while Jon slips into the urban nightlife to avoid what he most fears, Ada finds herself growing closer to her missing father — and strong enough to forgive him and bear the heartbreaking truth of his long-kept secret. Bergen’s marvellously drawn characters include Lieutenant Dat, the police officer who tries to seduce Ada by withholding information; the boy Yen, an orphan, who follows Ada and claims to be her guide; Jack Gouds, an American expatriate and self-styled missionary; his strong-willed and unhappy wife, Elaine, whose desperate encounters with Charles in the days before his disappearance will always haunt her; and Hoang Vu, the artist and philosopher who will teach Ada about the complexity of love and betrayal. We also come to learn about the reclusive author Dang Tho, whose famous wartime novel pulls at Charles in ways he can’t explain. Moving between father and daughter, the present and the past, The Time in Between is a luminous, unforgettable novel about one family, two cultures, and a profound emotional journey in search of elusive answers.
In a charming sequel to Adventures with Waffles, Trille and Lena navigate the rough waters of friendship when a new soccer coach and a new girl in school disrupt their seaside escapades. Trille and Lena may be getting older, but they still find everyday adventure—and trouble—in their coastal village, including sinking every raft they build, getting little sisters stuck up flag poles, and attending those dreaded music lessons. But that’s not all. The arrival of a less-than-encouraging new soccer coach is putting twelve-year-old Lena's goalkeeping career in doubt. And Trille is wondering how to impress the girl who has just joined his class. As the best friends battle the elements and their own emotions, one thing is for sure: they're not giving up, not if Lena has anything to do with it! In Maria Parr’s follow-up to Adventures with Waffles, the acclaimed author returns to Mathildewick Cove with a rib-tickling story of growing up.
The Story of the Lost Child is the long-awaited fourth volume in the Neapolitan novels (My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay). The quartet traces the friendship between Elena and Lila, from their childhood in a poor neighbourhood in Naples, to their thirties, when both women are mothers but each has chosen a different path. Their lives are still inextricably linked, for better or worse, especially when it comes to the drama of a lost child. Elena Ferrante was born in Naples. She is the author of seven novels: The Days of Abandonment, Troubling Love, The Lost Daughter, and the quartet of Neapolitan novels: My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay, and The Story of the Lost Child. Frantugmalia, a selection of interviews, letters and occasional writings by Ferrante, will be published in 2016. She is one of Italy’s most acclaimed authors. Ann Goldstein has translated all of Elena Ferrante’s work. She is an editor at the New Yorker and a recipient of the PEN Renato Poggioli Translation Prize. Praise for Ferrante and the Neapolitan novels ‘[Ferrante’s] charting of the rivalries and sheer inscrutability of female friendship is raw. This is high stakes, subversive literature.’ Sunday Telegraph ‘Ferrante is an expert above all at the rhythm of plotting...Whether it’s work, family, friends or sex–and Ferrante, perhaps thanks to her anonymity as an author, is blisteringly good on bad sex–our greatest mistakes in life aren’t isolated acts; we rehearse them over and over until we get them as badly wrong as we can.’ Independent ‘Great novels are intelligent far beyond the powers of any character or writer or individual reader, as are great friendships, in their way. These wonderful books sit at the heart of that mystery, with the warmth and power of both.’ Harper’s ‘Elena Ferrante is one of the great novelists of our time. Her voice is passionate, her view sweeping and her gaze basilisk...In these bold, gorgeous, relentless novels, Ferrante traces the deep connections between the political and the domestic. This is a new version of the way we live now—one we need, one told brilliantly, by a woman.’ New York Times Sunday Book Review ‘When I read [the Neapolitan novels] I find that I never want to stop. I feel vexed by the obstacles—my job, or acquaintances on the subway—that threaten to keep me apart from the books. I mourn separations (a year until the next one—how?). I am propelled by a ravenous will to keep going.’ New Yorker ‘The best thing I’ve read this year, far and away...She puts most other writing at the moment in the shade. She’s marvellous.’ Richard Flanagan ‘The Neapolitan series stands as a testament to the ability of great literature to challenge, flummox, enrage and excite as it entertains.’ Sydney Morning Herald ‘The depth of perception Ms. Ferrante shows about her character’s conflicts and psychological states is astonishing...Her novels ring so true and are written with such empathy that they sound confessional.’ Wall Street Journal ‘The older you get, the harder it is to recapture the intoxicating sense of discovery that comes when you first read George Eliot, Nabokov, Tolstoy or Colette. But this year it came again when I read Elena Ferrante’s remarkable Neapolitan novels.’ Jane Shilling, New Statesman ‘There is nothing remotely tiring or trying about the experience of reading the Neapolitan novels, which I, and a great many others, now rank among our greatest book-related pleasures...it is writing that holds honesty dear.’ Weekend Australian ‘Dickens gave working people a voice. Ferrante, whoever she might be, presents a new paradigm for being female in the world...Ferrante’s great literary creations, Lenu and Lila, have the same emotional weight as Anne in Persuasion, Jo in Little Women, Maggie in The Mill on the Floss, Jane in Jane Eyre.’ Helen Elliott in the Monthly ‘This stunning conclusion further solidifies the Neapolitan novels as Ferrante’s masterpiece and guarantees that this reclusive author will remain far from obscure for years to come.’ Publishers Weekly ‘The Neapolitan novels are smart, thoughtful, serious literature. At the same time, they are violent, suspenseful soap operas populated with a vivid cast of scheming characters...Ferrante’s novels are deeply personal and intimate, getting to the very heart of what it means to be a woman, a friend, a daughter, a mother.’ Debrief Daily ‘Shattering and enthralling, intimate and vicious...The Neapolitan Novels are the kind of books that swallow me whole. As soon as I pick one up, I don’t want to breathe or move lest I break the spell...The Neapolitan Novels are among the most important in my reading life. I can’t recommend them highly enough.’ Readings ‘Ferrante captures the complexities of women, friendship and motherhood in ways that make your heart soar and ache in equal measures. If you haven’t already, treat yourself to this series.’ ELLE Australia ‘[Ferrante’s] Neapolitan novels contain real life – recognisable anxiety, joy, love and heartbreak. This is an incredibly difficult feat to achieve in the first place, let alone sustain, over four books. We will be talking about Elena and Lila for years to come.’ Sydney Morning Herald ‘There's a bright, sinewy humanness to Ferrante’s writing that is so alive it's alarming...The Story of the Lost Child is a full emotional experience, and a fitting end to a huge, arresting series.’ New Zealand Listener ‘I was one of the many who wept and wondered over Elena Ferrante’s The Story of the Lost Child. I plan to re-read the entire series soon.’ Favourite Feminist Reads from 2016, Feminist Writers Festival
Like diving into the mind of a brilliant, infuriating friend, this novel dissects the experience of "the other woman" with tremendous wit and insight. When Ester Nilsson meets the actor Olof Sten, she falls madly in love. Olof makes no secret of being married, but he and Ester nevertheless start to meet regularly and begin a strange dance of courtship. Olof insists he doesn't plan to leave his wife, but he doesn't object to this new situation either...it's far too much fun. Ester, on the other hand, is convinced that things might change. But as their relationship continues over repeated summers apart, and winters full of heated meetings in bars, she is forced to realize the truth: Ester Nilsson has become a mistress. Ester's and Olof's entanglements and arguments are the stuff of relationship nightmares. Cutting, often cruel, and written with piercing humor, Acts of Infidelity is clever, painful, maddening, but most of all perfectly, precisely true.
An in-depth look at how democratic values have widened the American arts scene, even as it remains elite and cosmopolitan Two centuries ago, wealthy entrepreneurs founded the American cathedrals of culture—museums, theater companies, and symphony orchestras—to mirror European art. But today’s American arts scene has widened to embrace multitudes: photography, design, comics, graffiti, jazz, and many other forms of folk, vernacular, and popular culture. What led to this dramatic expansion? In Entitled, Jennifer Lena shows how organizational transformations in the American art world—amid a shifting political, economic, technological, and social landscape—made such change possible. By chronicling the development of American art from its earliest days to the present, Lena demonstrates that while the American arts may be more open, they are still unequal. She examines key historical moments, such as the creation of the Museum of Primitive Art and the funneling of federal and state subsidies during the New Deal to support the production and display of culture. Charting the efforts to define American genres, styles, creators, and audiences, Lena looks at the ways democratic values helped legitimate folk, vernacular, and commercial art, which was viewed as nonelite. Yet, even as art lovers have acquired an appreciation for more diverse culture, they carefully select and curate works that reflect their cosmopolitan, elite, and moral tastes.