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Poetry. Women's Studies. Populated by the quotidian events and things that punctuate our days (air travel, medical exams, bathrooms, phones, etc.), the poems in Niina Pollari's DEAD HORSE are anything but common. Hyperaware, the speaker in these poems "watch es] you watch me." She is mercurial, monstrous "a vampire in a grayly coughing dawn," a lover who wants to put her "thigh meat next to yours," to sit with swan's blood inside her mouth and smile but also tender in her grotesqueness: "I'm nothing / But a massive garbage mountain / Wiggling abundantly / And all I want to know is / Do you love me? / Now that I can dance." And then there it is, that word love. That is the force that ultimately animates the poems, their vulnerability & bravery: "If you say you love me / I will open my mouth and you can live in it." "These poems are so rhythmic you can almost ride them. Moving through the daily deaths of the earth, the questions of what to hold together and what to let, Niina Pollari writes from a place where emotion meets bone, exploring what it means to be a blood container. You will see your own skull." Melissa Broder "Niina Pollari's poems unfold with a phrasal clarity I didn't know I needed, and which disturbs me: 'like an animal / enjoying the warm sunshine with blood in my mouth.' Her poems deploy the vatic informality of Tytti Heikkinen or Hiromi It, indubitably of the present yet of a material insoluble to the present, a voice that issues from a Grecian urn or can of Coors. This is resolved, odd, clear-complicated stuff, lovely 'like a fakey arcade.'" Joyelle McSweeney"
When Elijah Blanco said his last words, he didn't realize he was about to be thrown into a competition to become one of the Four Horsemen of the Apocalypse. But now the game is on, and Elijah and thousands of other dead riders soon learn there's much more to dying than any preacher could have guessed. Heaven has released a herd of unearthly ponies into the world of the living and beyond, and it's up to the dead riders to capture them if they want to save their souls from Hell. As the game heats up, Elijah and his horse Delilah find themselves joined by a futuristic woman with a computer-powered horse; an easy-going English biker in black leather; and a Roman soldier as bred for war as the horse he rides. Together they uncover a Divine conspiracy that puts the riders' immortal souls in greater danger than ever before. And when the dead start dying, Elijah begins to think the Apocalypse should be brought to Heaven instead.
A collection of women's funny, lively, and inspirational stories in their own words, recounting how they overcame their "dead horse" mindsets to find thoroughbred replacements: success, happiness, self-worth, and fulfillment. The stories, narrated by women of varied ages, nationalities, and socioeconomic status, are interwoven with Lynn's own anecdotes, insights, and commentary, and are designed to encourage and help you to take charge of tour life. In each of these women, we recognize a little part of ourselves.
On May 24, 1935, author Raoul Whitfield's estranged wife, Emily Vanderbilt, was found dead at their New Mexico ranch from a gunshot wound. The official prognosis was suicide. Locals considered it murder. Dead Horse is Raoul and Emily's story, told from the latter point of view.
THE STORY: The play begins with a man alone in a desert landscape digging a grave. Hobart Struther's horse has just dropped dead. He stands there in the vast open desert trying to figure out what to do about his predicament. Every once in a while,
Barry Trotter is pretty disreputable and unpleasant. Imagine what he was like as a teenager. Here's the beginning of the whole sorry tale. Did Barry and Ermine do it? (Their homwork, that is.) How exactly did Lon end up with a hole in his head that whistles when the wind blows? Was Lord Valumart always that crass? And where did that ridiculous German accent come from? As funny and twisted as the first two books, BARRY TROTTER AND THE DEAD HORSE is also as affectionate towards JK Rowling's originals. This has lead to the books gaining a devoted following amongst fans of Harry Potter as well as being a welcome antidote for the over-egging (eeuwww) of the boy wizard. A process that we're not a part of at all. Oh no. Not even a tiny bit.
People like to blame someone for problems. Many people blame the president, Congress, local school boards, administrators, or teachers for the shortfalls of the public school system. The problem is not that the educators and lawmakers aren't trying to improve the system; it's that they just haven't realized the proverbial horse is dead. If the basic system doesn't work, all the money and strategies and dedication in the world will not help unless the system itself is replaced. One of the most crucial things the system has failed to do is differentiate between equal educational opportunity for all and equal (or identical) education for all. Instead of trying to make everybody the same, an educational system must ensure equal rights for everyone while still allowing them to develop at their own rate and in their own way. Only then can we have the diversity, creativity, and ingenuity needed to compete in the world today. In this book. I explain why our system has failed (The Dead Horse) and what we can do about it (A New Horse).