When an amusement park clown is strung to pilings under the San Margarita Pier, a deadly message is sent. Then all hell breaks loose for aging surfer dude Razz McNeil as he becomes entangled in the subsequent murder investigation. But when his sleuthing leads him to penetrate the dubious business dealings of his new boss, Razz becomes desperate just to stay alive.
Dean Erickson demonstrates how your personal story, the version you use to describe your life, is often derived from some of the worst events of your past and can affect your present and future. Through an in-depth and emotionally evocative exercise, valuable suggestions, motivational quotes, and one very powerful question, Erickson leads you with humor, encouragement, and insight to find your best story and get rid of negative beliefs that keep you from living your best life.
Blowup, says Armando Prats, is one of the necessary movies. It is a "living expression of the transition into the new narrative domains" in terms of man's "new vision of himself as a narrative creature in a world whose very essense is cinematic narration." Prats' work on the new humanism inherent in postwar filmmaking is a rewarding work with implications for the fields of esthetics and axiology as well as film criticism. In his analyses of four films by three directors—Fellini's Director's Notebook and The Clowns, Wertmiller's Seven Beauties, Antonioni's Blowup—Prats shows the contrasts between the conventional, word-bound narrative methods of the past and the new narrative in which images are free to display their energies fully, to lead the eye beyond rational concepts of reality and illusion, truth and falsity, good an evil, beauty and ugliness. The autonomous visual event, Prats finds, offers one of the most direct ways of entering into adventures of ideas, particularly in the realm of human values. Movies have revolutionized art as well as thought about art, and inasmuch as art and life converge, they have revolutionized life itself.
A gorgeously rendered graphic novel of Daniel Alarcón’s story City of Clowns. From the author of The King Is Always Above the People, which was longlisted for the 2017 National Book Award for Fiction. Oscar “Chino” Uribe is a young Peruvian journalist for a local tabloid paper. After the recent death of his philandering father, he must confront the idea of his father’s other family, and how much of his own identity has been shaped by his father’s murky morals. At the same time, he begins to chronicle the life of street clowns, sad characters who populate the violent and corrupt city streets of Lima, and is drawn into their haunting, fantastical world. This remarkably affecting story by Daniel Alarcón was included in his acclaimed first book, War by Candlelight, and now, in collaboration with artist Sheila Alvarado, it takes on a new, thrilling form. This graphic novel, with its short punches of action and images, its stark contrasts between light and dark, truth and fiction, perfectly corresponds to the tone of Chino’s story. With the city of Lima as a character, and the bold visual language from the story, City of Clowns is moving, menacing, and brilliantly vivid.
Moving away from the explicitly political content of his previous novels, Victor Hugo turns to social commentary in The Man Who Laughs, an 1869 work that was made into a popular film in the 1920s. The plot deals with a band of miscreants who deliberately deform children to make them more effective beggars, as well as the long-lasting emotional and social damage that this abhorrent practice inflicts upon its victims.
A science fiction horror story like no other—from the Emmy Award-winning author of Veep hailed by Neil Gaiman as “smart, funny, and unique.” A woman finds herself on the ride of a lifetime in this “dark, nightmarish journey into a brand-new sort of Twilight Zone . . . breathless, frantic and creepy as hell” (Christopher Golden, New York Times–bestselling author). A woman wakes up, frightened and alone. The room shaking and jumping like it's alive. The noise is terrifying. Where is she? Stumbling through a door, she realizes she is on a train carriage. A carriage full of the dead. A personal hell unfolding in an apocalyptic future. This is Night Train. A terrifying ride set on a driverless locomotive, heading for a collision somewhere in the endless night. How did the woman get here? Who is she? And who are the dead? As our heroine makes her way through the train trying to find out what happened to her, she meets a former strongman, a trained killer, and a collection of strange and terrifying creatures. Each step takes her closer to finding out the secret of the Night Train.
Shows that while the GDR is generally seen as - and mostly was - an oppressive and unfree country, from late 1989 until autumn 1990 it was the "freest country in the world" the dictatorship had disappeared while the welfare system remained. Stephen Brockmann's new book explores the year 1989/1990 in East Germany, arguing that while the GDR is generally seen as - and was for most of its forty years - an oppressive and unfree country, from autumn 1989 until the autumn of 1990 it was the "freest country in the world," since the dictatorship had disappeared while the welfare system remained. That such freedom existed in the last months of the GDR and was a result of the actions of East Germans themselves has been obscured, Brockmann shows, by the now-standard description of the collapse of the GDR and the reunification of Germany as a triumph of Western democracy and capitalism. Brockmann first addresses the culture of 1989/1990 by looking at various media from that final year, particularly film documentaries. He emphasizes punk culture and the growth of neo-Nazism and the Antifa movement - factors often ignored in accounts of the period. He then analyzes three later semiautobiographical novels about the period. He devotes chapters to dramatic films dealing with German reunification made relatively soon after the event and to more recent film and television depictions of the period, respectively. The final chapter looks at monuments and memorials of the 1989/1990 period, and a conclusion considers the implications of the book's findings for the present day.
David Lee is twelve years old and disappointed in his father Earl, a once-famous rodeo clown who has quit the circuit and moved David to a small town in Vermont to start a new life. David has a hard time adjusting to life as a “normal” boy and is hurt that his father never allowed him the chance to be his partner in the rodeo arena. When Earl tries to buy David a horse at auction, David pretends to have no interest in it, and the horse is sold, instead, to a seventy-year-old woman named Sarah Tierney. Sarah, grief-stricken at the death of her husband, tries to ?nd solace in her new horse, Gypsy, but she needs help from Earl and David to learn how to care for her. As the three of them spend more and more time with Gypsy, they all become entranced—in their own ways—by the horse and begin to learn more and more about themselves. A heartfelt story, this middle-reader novel is a must read for any girl or boy interested in nature and horses. Ages 9-12.
