From the creator who brought you notable works such as The Flowers of Evil, Happiness, and Inside Mari, comes his latest suspense drama centering on the theme of a toxic parent. Dive into this latest thriller by master storyteller, Shuzo Oshimi. "..if you enjoyed Oshimi's previous work with "Flowers of Evil", and you enjoy dark storylines with twisted characters, you'll no doubt enjoy "Blood on the Tracks"! Recommended!" - Neo Tokyo 2099 The tale of Seiko’s past draws to a close, and Seiichi is left with one central, burning question: “Why did you ‘kill’ me?” Once that question has been answered, can some kind of relationship between mother and child be resurrected? The long night is over—now what will the dawn bring?
“We are not worth more, they are not worth less.” This is the mantra of S. Brian Willson and the theme that runs throughout his compelling psycho-historical memoir. Willson’s story begins in small-town, rural America, where he grew up as a “Commie-hating, baseball-loving Baptist,” moves through life-changing experiences in Viet Nam, Nicaragua and elsewhere, and culminates with his commitment to a localized, sustainable lifestyle. In telling his story, Willson provides numerous examples of the types of personal, risk-taking, nonviolent actions he and others have taken in attempts to educate and effect political change: tax refusal—which requires simplification of one’s lifestyle; fasting—done publicly in strategic political and/or therapeutic spiritual contexts; and obstruction tactics—strategically placing one’s body in the way of “business as usual.” It was such actions that thrust Brian Willson into the public eye in the mid-’80s, first as a participant in a high-profile, water-only “Veterans Fast for Life” against the Contra war being waged by his government in Nicaragua. Then, on a fateful day in September 1987, the world watched in horror as Willson was run over by a U.S. government munitions train during a nonviolent blocking action in which he expected to be removed from the tracks and arrested. Losing his legs only strengthened Willson’s identity with millions of unnamed victims of U.S. policy around the world. He provides details of his travels to countries in Latin America and the Middle East and bears witness to the harm done to poor people as well as to the environment by the steamroller of U.S. imperialism. These heart-rending accounts are offered side by side with inspirational stories of nonviolent struggle and the survival of resilient communities Willson’s expanding consciousness also uncovers injustices within his own country, including insights gained through his study and service within the U.S. criminal justice system and personal experiences addressing racial injustices. He discusses coming to terms with his identity as a Viet Nam veteran and the subsequent service he provides to others as director of a veterans outreach center in New England. He draws much inspiration from friends he encounters along the way as he finds himself continually drawn to the path leading to a simpler life that seeks to “do no harm.&rdquo Throughout his personal journey Willson struggles with the question, “Why was it so easy for me, a ’good’ man, to follow orders to travel 9,000 miles from home to participate in killing people who clearly were not a threat to me or any of my fellow citizens?” He eventually comes to the realization that the “American Way of Life” is AWOL from humanity, and that the only way to recover our humanity is by changing our consciousness, one individual at a time, while striving for collective cultural changes toward “less and local.” Thus, Willson offers up his personal story as a metaphorical map for anyone who feels the need to be liberated from the American Way of Life—a guidebook for anyone called by conscience to question continued obedience to vertical power structures while longing to reconnect with the human archetypes of cooperation, equity, mutual respect and empathy.
A young woman is found brutally murdered, and the main suspect is the victim's fiancé, a hideously scarred Iraq War vet known as the Burned Man. But railroad police Special Agent Sydney Rose Parnell, brought in by the Denver Major Crimes unit to help investigate, can't shake the feeling that larger forces are behind this apparent crime of passion. In the depths of an icy winter, Parnell and her K9 partner, Clyde, both haunted by their time in Iraq, descend into the underground world of a savage gang of rail riders. There, they uncover a wide-reaching conspiracy and a series of shocking crimes. Crimes that threaten everything Parnell holds dear. As the search for the truth puts her directly in the path of the killer, Parnell must struggle with a deadly question: Can she fight monsters without becoming one herself?
An in-depth, eyewitness account of the creation of one of Bob Dylan's most celebrated, anguished albums, written by the album's guitarist and an acclaimed journalist
Between 1835 and the 1850s, railway mania blossomed around Britain. Crime emerged as the railways developed, at first opportunistic crimes such as fare evasion and robberies, but gradually more inventive forms evolved, notably the minor clerk Redpath in the 1850s, whose shameless cooking of the books to live the high life exposed the lack of any kind of accountancy across the railway industry. The first train murder was not until the 1840s, and sparked great fear of foreigners as a German was charged and hanged for the crime. The outcry resulted in the communication cord being introduced to the railway carriages, so that no longer would they exist as completely separate spaces and passengers could alert the driver to any assault within. This fascinating history covers all varieties of crime on the railways and how it has changed over the years, from assaults and robberies, to theft of goods, murder, vandalism, football and other crowd activity, suicide on the line, fraud and white collar crime, and also looks at the use of railway crime in film and literature.
Bob Dylan's 1975 album Blood On The Tracks is considered by many to be his masterpiece. Routinely labelled "Dylan's Divorce Album," it is also widely taken as a painfully autobiographical account of the deterioration of his first marriage: "the greatest break-up record of all time." But the reality behind the making of the record is far more complex, and the result of a struggle that saw Dylan attempting to rediscover his own art on his own terms, after a long period away from the rock and roll fray, during which, for many, he seemed to turn his back on the implications of his own 1960s work.How difficult a struggle that turned out to be is borne witness by the fact that, just days before Blood On The Tracks was due to be released, Dylan suddenly decided to halt the presses, scrap half the tracks, and return to the studio to quickly record them again. In Back In The Rain, Doc Pasquale vividly positions Blood On The Tracks not simply in the context of Dylan's marriage, but his long "retreat" from rock and roll and public life: the big silence that lasted from his 1966 motorcycle crash, to his return to touring in 1974.Peeling back the layers in an extensive track-by-track analysis, he also examines the differences between the version of Blood On The Tracks that Dylan originally recorded and the version that he eventually released, and what those differences reveal about this album that won't let go.
"If you enjoyed Oshimi's previous work with "The Flowers of Evil", and you enjoy dark storylines with twisted characters, you'll no doubt enjoy "Blood on the Tracks"! Recommended!" - Neo Tokyo 2099 It's been 20 years since his mother told Seiichi that she renounced motherhood, since she thanked him for being a killer, since he tried to strangle her there in the courtroom—and somehow he made it through. Living alone, working the night shift at a commercial bakery, barely speaking to his father, Seiichi's life is solitary and empty, and he likes it that way. But nothing lasts forever... The grand preface is over—and now the real story begins!!
This morning. Room 211. The Chelsea Hotel. Elysian Row. A man is lying face up on a red crushed-velvet chaise. His wide-open eyes stare at some unseen spot on the ceiling. He is wearing a pair of tight-fitting jeans, scuffed-up Spanish leather boots, and a matching Bolero vest. At first glance, one might mistake him for a vagabond, a vagrant, a drifter. He would have liked that. He always thought of himself as a traveling troubadour. But look closer. The lifeless man lying across the chaise is none other than superstar Bob Dorian. He'd been hailed a poet, a prophet, and the voice of a generation. Dorian never wanted to be any of those things. The most famous rock star in the world always resented the attention. Of course, turning up dead attracts the most attention of all. Suspects? Tons of them. They're all characters in Dorian's songs, not to mention they all hold a grudge. Intent on finding the killer, Dorian's manager, Jack Frost, teams with Commissioner Tiresias and obituary writer Mister Johns to track down the true culprit and solve the mysterious murder. And the answers they need may just be staring them in the face.
