Raw, engaging, and described by her teacher as "one who makes bubbles of joy," Rita shares her lustrous journey through the fires of divorce, motherhood, and a series of romantic lilas (divine plays). Determined to heal herself, she takes a disciplined dive into Yogic spiritual practices while working closely with an American spiritual teacher. Eventually she bows at the Feet of her Gurus, Ammachi and Neem Karoli Baba, in a true surrender that spurs a radical transformation: from a girl long suffering with an addictive love pattern to a self-fulfilling woman of Bliss. This kind of remarkable change is not only astounding and awe-inspiring, but it is possible for anyone.
Following the events of Dexter and the Ice Truck Killer in the first season Dexter finds himself tailed by one of his colleagues and having not killed anybody for a month. He finds out information about Harry that he is shocked by and that shakes Dexter's belief in Harry's code. Dexter's sister Debra finds herself struggling with her experience with the Ice Truck Killer in the events of last season too putting stress on her relationships with those around her. With the FBI closing in on Dexter too with the discovery of his victims bodies in the ocean this season put Dexter in some of the most uncomfortable situations so far leaving him struggling to stay in control of his dark passenger. Test yourself with over 100 questions inside from the second season of this compelling show.
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
Coming Out Black (HC) By: W. Edward Morton A young African American goes through the realization of discovering himself while admitting the world of the gay life is not as alien as he was raised to believe. His journey takes him through sexual awareness and resulting desire. In many ways, he is fortunate enough to connect with a more monogamous relationship, which protects him from the life of promiscuity many newbies fall into with resulting negative outcomes such as disease, violence, and since we’re looking at the period of time that Carter comes to accept his proclivities, even incarceration. He comes to find a more exclusive group of friends who help him accept himself and his new lifestyle. He finds satisfaction as he travels through this new world, but there are also many sorrows he experiences along the way.
ABOUT THE BOOK Dexter broke new ground for Showtime when it first premiered in 2006. Rival network HBO had long been acclaimed for its dramatic and comedic series such as The Sopranos and Entourage and Dexter proved that Showtime could deliver its own unique brand of drama that would captivate viewers. The show, much like its main character, was edgy, riveting to watch, and difficult to define. Dexter Morgan was a serial killer that, inexplicably, the audience found itself rooting for. While the show garnered controversy due to its violence and its portrayal of a killer as an antihero, fans clamored for more. Dexter gave the network strong ratings, a new franchise, and a bankable star in Michael C. Hall. However, with the main villain from the first season dead and buried, the lingering question became where the show would go next. While the first season was strongly based off of Jeff Lindsays novel Darkly Dreaming Dexter, producers decided to go a different route and branch away from the Lindsay books, creating their own storyline in the process for Season 2. The second season of Dexter surprised many by not introducing a new main villain for Dexter to hunt. The second book of the Lindsay series focused on a killer nicknamed Dr Danco. Instead, the TV season focused more on Dexter himself as the sins of his past threatened to catch up to him. The real villain of the season may be Dexter himself. MEET THE AUTHOR Dave Beaudrie is a graduate and valedictorian of Michigan State University with a B.A. in Advertising. He also studied Theatre and has performed in multiple productions around the country. He is a professional screenwriter as well with several projects either produced or in pre-production. He is licensed as a security specialist in the state of California and worked in the field for several years. Beaudrie is an avid mixed martial arts fan and has written extensively on the subject. He writes comedy as well under a pen name and resides in Los Angeles. EXCERPT FROM THE BOOK What type of killer cant kill? That is the question Dexter must answer in the wake of murdering his brother at the end of Season 1. The Ice Truck Killer has been put down, but his memory and all he represents still haunts Dexter Morgan. Debra Morgan is also troubled by the Ice Truck Killer, albeit in a different way. Season 2 opens with the two siblings dealing with the death of Rudy Cooper in their own ways. Debra lives with Dexter to feel secure and this, combined with the constant surveillance by a suspicious Sgt. Doakes, puts Dexter on a very short killing leash. Over a month goes by without a kill and Dexter finds himself restless. However, when he finally has the opportunity to kill a voodoo-spouting murderer, he cant bring himself to do it. This sudden attack of conscious is exacerbated by the discovery of 30 bags of body parts in the ocean. Dexters previous victims have come home to roost. Deb returns to the force, but is clearly still traumatized. Dexters relationship with Rita becomes more strained as her ex-husband Paul continues to proclaim from prison that Dexter framed him for heroin possession. Paul gets killed in a prison fight and Dexter confesses to Rita that he set Paul up in the aftermath of Pauls death. He also admits to an addiction. He means murder but Rita interprets it as drugs and forces Dexter to go to Narcotics Anonymous. CHAPTER OUTLINE Quicklet on Dexter Season 2 + Introduction + About Tony Goldwyn (Director- Season Premiere) + About Steve Shill (Director- Season Finale) + Season 2 Summary + ...and much more Dexter Season 2 (TV Show)
Peek inside the mind of Dexter Morgan—police forensic analyst, family man, serial killer, and the star of Showtime’s most-watched series—with essays from seventeen psychologists and avid fans. Aimed at Dexter devotees and armchair psychologists, The Psychology of Dexter takes on the psychological complexities of the popular series with an eye towards insight and accessibility. It analyzes not just the title character, but his family, coworkers, and even his viewers. What makes Dexter tick? What makes a show about a serial killer so appealing to those of us at home. And do we need to be worried about our own Dark Passengers? From the implications of faking normalcy (could it be behind Dexter’s still-in-progress emotional growth?) to where the show weighs in on the psychological debate between nature and nurture, this book gives fans a peek inside Dexter’s psyche. Think you know Dexter? The Psychology of Dexter will make you think again.
When twin detectives Rita and Rhonda Knight trade the secrets of Clovedale Falls for a remote Alaskan retreat, they never expected icy shadows to conceal heartwarming mysteries. Trapped by snow and surrounded by intrigue, the sisters' dream wedding hangs in the balance. Can they decode the chilling clues with only their woman-led detective instincts and Billy's quirky wisdom? Danger meets gentle intrigue in a landscape where hope and warmth defy the harshest cold. As the Knight duo faces enigmatic strangers and unsettling discoveries, they're reminded that even in the most secluded corners, small town secrets have a way of following you. Dive into this clean, cozy mystery and join the Knight sisters on their most gripping adventure yet. Perfect for fans of female sleuths and wholesome tales, "Dropping Like Pies" promises a thrilling whodunit you won't want to put down.
The April 1988 murder and decapitation of twenty-three-year-old Michael Miley in rural southern Illinois horrified and enraged local residents and law enforcement officials, some of whom suspected the homicide was a hate crime. The Rita Nitz Story: A Life Without Parole is an in-depth personal investigation into Miley’s murder, for which Rita Nitz was convicted as an accomplice to life in prison. Born in 1959, Rita was thirty when she was sentenced in 1989. Her husband, Richard Nitz, was convicted of the murder. Detailing the crime and its aftermath, Larry L. Franklin uncovers a disturbing set of facts that illuminate a possible miscarriage of justice. Was Rita Nitz involved in the murder of Michael Miley? Franklin doesn’t purport her guilt or her innocence but instead details the plight of a troubled woman who was a victim of sexual abuse and domestic violence at the hands of family members and spouses and who may also have been a victim of inadequate legal representation and a judicial system more interested in delivering the maximal punishment than in serving justice. Consulting with experts in prosecutorial conduct, jury psychology, and forensic evidence, Franklin discovered details that were withheld from the jury and the public during the trial in 1989. He also suggests other theories and names possible perpetrators involved in the murder that further imply shoddy police work and a tainted criminal investigation. Drawing on numerous conversations with Rita at the Dwight Correctional Center in Illinois, Franklin divulges the story of Rita’s tumultuous youth and her three problematic marriages. He shows her to be a battered woman who didn’t fully understand the circumstances and behavior that led to her being implicated in such a hideous crime and who lacked the financial resources and emotional strength to navigate the legal tangle that entrapped her. Franklin also points out the disparity in justice between Rita and Richard, who is up for parole in less than twenty years, while Rita remains sentenced to life without parole. In attempting to reach the truth about Miley’s murder, Franklin highlights abuses in the Illinois correctional system and disparities between the treatment of male and female convicts, sketching a blueprint that could improve law enforcement and justice in rural Illinois.
