Come on up to the attic Come up if you dare Climb up the rickety ladder— Come up and see what’s there… Ben H. Winters brings the fear factor to this collection of thirty spooktastic rhyming stories about witches, zombies, vampires and more! Featuring eerie illustrations by Adam F. Watkins, this book is perfect for nights around the campfire and slumber party ghost stories. Be sure to keep a flashlight close!
The author of the #1 New York Times bestseller Perfect Victim returns with another true-crime thriller. Dorothea Puente ran a boarding house on F street in Sacramento, taking in the city's homeless. But when corpses were dug up in her garden, it became clear the "kind-hearted" landlady was, in fact, a psychotic killer.
THE #1 NEW YORK TIMES BESTSELLER “Told in rotating points of view, this Tilt-A-Whirl of a novel brims with jangly tension – an undeniably engrossing guessing game.” — Vogue "[A] clever, cliff-hanger-filled thriller." — People From the New York Times bestselling author of The Guest List comes a new locked room mystery, set in a Paris apartment building in which every resident has something to hide… Jess needs a fresh start. She’s broke and alone, and she’s just left her job under less than ideal circumstances. Her half-brother Ben didn’t sound thrilled when she asked if she could crash with him for a bit, but he didn’t say no, and surely everything will look better from Paris. Only when she shows up – to find a very nice apartment, could Ben really have afforded this? – he’s not there. The longer Ben stays missing, the more Jess starts to dig into her brother’s situation, and the more questions she has. Ben’s neighbors are an eclectic bunch, and not particularly friendly. Jess may have come to Paris to escape her past, but it’s starting to look like it’s Ben’s future that’s in question. The socialite – The nice guy – The alcoholic – The girl on the verge – The concierge Everyone's a neighbor. Everyone's a suspect. And everyone knows something they’re not telling.
This Complete Concordance is a companion to the Analytical-Literal Translation of the New Testament: Third Edition (ALT3). This concordance indexes every occurrence of most words in ALT3. Only minor words are omitted. Sufficient context is provided for the reader to recognize the verse or to get the gist of it. This concordance will enable the reader to quickly find a verse in ALT3. It will also be invaluable in doing topical studies in ALT3. Looking up every reference to a word like "grace" will enable the reader to do a study on this important Biblical topic. ALT3 is the ideal version to use for such in-depth Bible study, and having this concordance to use as reference tool will improve these studies.
Hurt people hurt people. Say there was a novel in which Holden Caulfield was an alcoholic and Lolita was a photographer’s assistant and, somehow, they met in Bright Lights, Big City. He’s blinded by love. She by ambition. Diary of an Oxygen Thief is an honest, hilarious, and heartrending novel, but above all, a very realistic account of what we do to each other and what we allow to have done to us.
With his stunning debut novel, She's Come Undone, Wally Lamb won the adulation of critics and readers with his mesmerizing tale of one woman's painful yet triumphant journey of self-discovery. Now, this brilliantly talented writer returns with I Know This Much Is True, a heartbreaking and poignant multigenerational saga of the reproductive bonds of destruction and the powerful force of forgiveness. A masterpiece that breathtakingly tells a story of alienation and connection, power and abuse, devastation and renewal--this novel is a contemporary retelling of an ancient Hindu myth. A proud king must confront his demons to achieve salvation. Change yourself, the myth instructs, and you will inhabit a renovated world. When you're the same brother of a schizophrenic identical twin, the tricky thing about saving yourself is the blood it leaves on your bands--the little inconvenience of the look-alike corpse at your feet. And if you're into both survival of the fittest and being your brother's keeper--if you've promised your dying mother--then say so long to sleep and hello to the middle of the night. Grab a book or a beer. Get used to Letterman's gap-toothed smile of the absurd, or the view of the bedroom ceiling, or the influence of random selection. Take it from a godless insomniac. Take it from the uncrazy twin--the guy who beat the biochemical rap. Dominick Birdsey's entire life has been compromised and constricted by anger and fear, by the paranoid schizophrenic twin brother he both deeply loves and resents, and by the past they shared with their adoptive father, Ray, a spit-and-polish ex-Navy man (the five-foot-six-inch sleeping giant who snoozed upstairs weekdays in the spare room and built submarines at night), and their long-suffering mother, Concettina, a timid woman with a harelip that made her shy and self-conscious: She holds a loose fist to her face to cover her defective mouth--her perpetual apology to the world for a birth defect over which she'd had no control. Born in the waning moments of 1949 and the opening minutes of 1950, the twins are physical mirror images who grow into separate yet connected entities: the seemingly strong and protective yet fearful Dominick, his mother's watchful "monkey"; and the seemingly weak and sweet yet noble Thomas, his mother's gentle "bunny." From childhood, Dominick fights for both separation and wholeness--and ultimately self-protection--in a house of fear dominated by Ray, a bully who abuses his power over these stepsons whose biological father is a mystery. I was still afraid of his anger but saw how he punished weakness--pounced on it. Out of self-preservation I hid my fear, Dominick confesses. As for Thomas, he just never knew how to play defense. He just didn't get it. But Dominick's talent for survival comes at an enormous cost, including the breakup of his marriage to the warm, beautiful Dessa, whom he still loves. And it will be put to the ultimate test when Thomas, a Bible-spouting zealot, commits an unthinkable act that threatens the tenuous balance of both his and Dominick's lives. To save himself, Dominick must confront not only the pain of his past but the dark secrets he has locked deep within himself, and the sins of his ancestors--a quest that will lead him beyond the confines of his blue-collar New England town to the volcanic foothills of Sicily 's Mount Etna, where his ambitious and vengefully proud grandfather and a namesake Domenico Tempesta, the sostegno del famiglia, was born. Each of the stories Ma told us about Papa reinforced the message that he was the boss, that he ruled the roost, that what he said went. Searching for answers, Dominick turns to the whispers of the dead, to the pages of his grandfather's handwritten memoir, The History of Domenico Onofrio Tempesta, a Great Man from Humble Beginnings. Rendered with touches of magic realism, Domenico's fablelike tale--in which monkeys enchant and religious statues weep--becomes the old man's confession--an unwitting legacy of contrition that reveals the truth's of Domenico's life, Dominick learns that power, wrongly used, defeats the oppressor as well as the oppressed, and now, picking through the humble shards of his deconstructed life, he will search for the courage and love to forgive, to expiate his and his ancestors' transgressions, and finally to rebuild himself beyond the haunted shadow of his twin. Set against the vivid panoply of twentieth-century America and filled with richly drawn, memorable characters, this deeply moving and thoroughly satisfying novel brings to light humanity's deepest needs and fears, our aloneness, our desire for love and acceptance, our struggle to survive at all costs. Joyous, mystical, and exquisitely written, I Know This Much Is True is an extraordinary reading experience that will leave no reader untouched.
Whose truth is the lie? Stay up all night reading the sensational psychological thriller that has readers obsessed, from the #1 New York Times bestselling author of Too Late and It Ends With Us. #1 New York Times Bestseller · USA Today Bestseller · Globe and Mail Bestseller · Publishers Weekly Bestseller Lowen Ashleigh is a struggling writer on the brink of financial ruin when she accepts the job offer of a lifetime. Jeremy Crawford, husband of bestselling author Verity Crawford, has hired Lowen to complete the remaining books in a successful series his injured wife is unable to finish. Lowen arrives at the Crawford home, ready to sort through years of Verity’s notes and outlines, hoping to find enough material to get her started. What Lowen doesn’t expect to uncover in the chaotic office is an unfinished autobiography Verity never intended for anyone to read. Page after page of bone-chilling admissions, including Verity's recollection of the night her family was forever altered. Lowen decides to keep the manuscript hidden from Jeremy, knowing its contents could devastate the already grieving father. But as Lowen’s feelings for Jeremy begin to intensify, she recognizes all the ways she could benefit if he were to read his wife’s words. After all, no matter how devoted Jeremy is to his injured wife, a truth this horrifying would make it impossible for him to continue loving her.
This is what the King James Version was meant to be, an exact word-for-word translation of the Hebrew and Greek texts. This title indicates that this new Bible is an exact literal, word-for-word translation of the Masoretic Hebrew Text and the Greek Received Text (Textus Receptus), the main texts used by the Authorised/King James Version translators. Certainly you will want to know all the truths that God has written in the original Hebrew and Greek languages, for it is truth that has the power to set you free: "And you will know the truth, and the truth will set you free" (John 8:32) The difference between the KJ3 Bible and all other English versions ever created in the past is this: This version contains all of God's words, as He wrote them. Note that God has commanded this several times. See Deuteronomy 4:2, 12:32, Proverbs 30:6, Revelation 22:18, 19. KJ3/LITV "You shall not add onto the Word I command you, neither shall you take away from it, to keep the commandments which I have commanded you." When a version adds words to the words that God breathed out or fails to translate what God has written, and hides from the reader what they have added or subtracted from God's word, they are deceiving the reader by in effect saying, "These are the words that God wrote," when the truth is that God did not write many of the words that they have put into their Bibles. This is especially grievous in the Bibles that use "Dynamic Equivalence" as their translation methodology. Basically, "Dynamic Equivalence" is storytelling or a short commentary of what God has breathed out to us. The alleged translator reads a passage of the Bible in its native language (Greek or Hebrew), perceives or interprets the meaning, and writes in his own words what the alleged translator believes the Bible is saying. There is no effort to translate each word of the Hebrew or Greek. This new KJ3 version is the version that lovers of God and His Word can safely use with the approval of God. You and every person will be judged by ALL of the words that God has written. Add to this, that God wrote in grammatical forms (nouns, verbs, adjectives, adverbs, etc.) Our Lord Jesus was always careful to keep the grammar of the Old Testament words He quoted in the New Testament. No other Bible version has ever strictly given the reader these grammatical forms as God has written them. The worst mistranslations: "Lord" for the divine name ("I am Jehovah, that is my name,"). God's name is mistranslated more than 6,000 times. Every nation had their lords, but only Israel had Jehovah as their God. All other countries were "the nations." In the New Testament "Gentiles" is falsely put for the "nations." "Church" is a word God never wrote: instead he called the meeting place "the assembly" both in the New and Old Testament. "The children of Israel" never existed as such, for the word, for "sons" is badly translated as "children." In many versions this occurs more than 500 times. Dead is either an adjective ("dead ones") or a verb ("to die"), (e.g. "he has died"). Also ("put to death") is from this verb, and most often translated as "cause to die". Usually, with most translations which have the same verb twice, one of the verbs will be replaced with an adverb. Only by going back to the each and every word of the Hebrew and Greek manuscripts can we ever attempt to have the purest translation. This is what we have tried to do with the KJ3 Bible - Literal Translation of the Bible.
