A Mouthful Of Air Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of A Mouthful Of Air book. This book definitely worth reading, it is an incredibly well-written.
Now a major motion picture starring Amanda Seyfried and Finn Wittrock. Compared to seminal feminist works such as Charlotte Perkins Gilman’s “The Yellow Wallpaper” and Sylvia Plath’s The Bell Jar, A Mouthful of Air is a powerful, tragic statement on motherhood, family, and survival. A Mouthful of Air is a compassionate and wrenching portrait of Julie Davis, a young wife and mother torn between the love she feels for her family and the voice in her head that insists they’d be better off without her. We meet Julie several weeks after her suicide attempt, on the eve of her son’s first birthday. Grateful to be alive, Julie tries her best to appreciate every moment—“this tree, that passing car, the pretzel guy up ahead on the corner. She has, for whatever reason, been given a second chance”—but her emotional demons are unrelenting, and she is slowly and quietly losing the battle. Within the narrative of A Mouthful of Air is an argument about the nature of depression—its causes, cures, and the price it exacts from its victims. With spare, elegant prose, this brutally honest portrayal of family and self illuminates the power and complexity of the human psyche. Originally published in 2003, A Mouthful of Air now includes an afterword by author Adrienne Miller.
"Superb" -- Vogue "What makes Schweblin so startling as a writer, however, what makes her rare and important, is that she is impelled not by mere talent or ambition but by vision." -- New York Times A powerful, eerily unsettling story collection from a major international literary star. The brilliant stories in Mouthful of Birds burrow their way into your psyche and don't let go. Samanta Schweblin haunts and mesmerizes in this extraordinary collection featuring women on the edge, men turned upside down, the natural world at odds with reality. We think life is one way, but often, it's not -- our expectations for how people act, love, fear can all be upended. Each character in Mouthful of Birds must contend with the unexpected, whether a family coming apart at the seams or a child transforming or a ghostly hellscape or a murder. Schweblin's stories have the feel of a sleepless night, where every shadow and bump in the dark take on huge implications, leaving your pulse racing, and the line between the real and the strange blurs.
Witness, I Am is divided into three gripping sections of new poetry from one of Canada’s most recognized poets. The first part of the book, “Dangerous Sound,” contains contemporary themed poems about identity and belonging, undone and rendered into modern sound poetry. “Muskrat Woman,” the middle part of the book, is a breathtaking epic poem that considers the issue of missing and murdered indigenous women through the reimagining and retelling of a sacred Cree creation story. The final section of the book, “Ghost Dance,” raids the autobiographical so often found in Scofield’s poetry, weaving the personal and universal into a tapestry of sharp poetic luminosity. From “Killer,” Scofield eerily slices the dreadful in with the exquisite: “I could, this day of proficient blooms, / take your fingers, / tie them down one by one. This one for the runaway, / this one for the joker, / this one for the sass-talker, / this one for the judge, / this one for the jury. / Oh, I could kill you.”
A short, tough story of an assassin - the man who killed Hendrick Verwoed, the racist prime minister of South Africa, in 1966. Born in Mozambique of a Greek father and African mother, Demitrios Tsafendas was a man lost between the races, maddened by not knowing who or what he was. He thought he was white until his father abandoned him. He then discovered he was coloured. He spent 25 years wandering the world looking for a home, growing stranger and more desperate. In 1965 he arrived in South Africa and got a job as a messenger in the Parliament building - a job reserved for whites.
“Who am I? I’m a man; an American, a father, a teacher, but most of all, I am a person who knows how the arts can change lives, because they transformed mine. I was a dancer.” In this rich, expansive, spirited memoir, Jacques d’Amboise, one of America’s most celebrated classical dancers, and former principal dancer with the New York City Ballet for more than three decades, tells the extraordinary story of his life in dance, and of America’s most renowned and admired dance companies. He writes of his classical studies beginning at the age of eight at The School of American Ballet. At twelve he was asked to perform with Ballet Society; three years later he joined the New York City Ballet and made his European debut at London’s Covent Garden. As George Balanchine’s protégé, d’Amboise had more works choreographed on him by “the supreme Ballet Master” than any other dancer, among them Tchaikovsky Pas de Deux; Episodes; A Midsummer’s Night’s Dream; Jewels; Raymonda Variations. He writes of his boyhood—born Joseph Ahearn—in Dedham, Massachusetts; his mother (“the Boss”) moving the family to New York City’s Washington Heights; dragging her son and daughter to ballet class (paying the teacher $7.50 from hats she made and sold on street corners, and with chickens she cooked stuffed with chestnuts); his mother changing the family name from Ahearn to her maiden name, d’Amboise (“It’s aristocratic. It has the ‘d’ apostrophe. It sounds better for the ballet, and it’s a better name”). We see him. a neighborhood tough, in Catholic schools being taught by the nuns; on the streets, fighting with neighborhood gangs, and taking ten classes a week at the School of American Ballet . . . being taught professional class by Balanchine and by other teachers of great legend: Anatole Oboukhoff, premier danseur of the Maryinsky; and Pierre Vladimiroff, Pavlova’s partner. D’Amboise writes about Balanchine’s succession of ballerina muses who inspired him to near-obsessive passion and led him to create extraordinary ballets, dancers with whom d’Amboise partnered—Maria Tallchief; Tanaquil LeClercq, a stick-skinny teenager who blossomed into an exquisite, witty, sophisticated “angel” with her “long limbs and dramatic, mysterious elegance . . .”; the iridescent Allegra Kent; Melissa Hayden; Suzanne Farrell, who Balanchine called his “alabaster princess,” her every fiber, every movement imbued with passion and energy; Kay Mazzo; Kyra Nichols (“She’s perfect,” Balanchine said. “Uncomplicated—like fresh water”); and Karin von Aroldingen, to whom Balanchine left most of his ballets. D’Amboise writes about dancing with and courting one of the company’s members, who became his wife for fifty-three years, and the four children they had . . . On going to Hollywood to make Seven Brides for Seven Brothers and being offered a long-term contract at MGM (“If you’re not careful,” Balanchine warned, “you will have sold your soul for seven years”) . . . On Jerome Robbins (“Jerry could be charming and complimentary, and then, five minutes later, attack, and crush your spirit—all to see how it would influence the dance movements”). D’Amboise writes of the moment when he realizes his dancing career is over and he begins a new life and new dream teaching children all over the world about the arts through the magic of dance. A riveting, magical book, as transformative as dancing itself.
As Diana surveyed her newborn baby's face, languid body, and absent cry, she knew something was wrong. Then the doctors delivered devastating news: her first child, Emma, had been born with a rare genetic disorder that would leave her profoundly physically and intellectually disabled. Diana imagined life with a child with disabilities as a dark and insular one—a life in which she would be forced to exist in the periphery alongside her daughter. Convinced of her inability to love her “imperfect” child and give her the best care and life she deserved, Diana gave Emma up for adoption. But as with all things that are meant to be, Emma found her way back home. As Emma grew, Diana watched her live life determinedly and unapologetically, radiating love always. Emma evolved from a survivor to a warrior, and the little girl that Diana didn’t think she could love enough rearranged her heart. In her short eighteen years of life, Emma gifted her family the indelible lesson of the healing and redemptive power of love. This is a mother’s requiem to her perfectly imperfect child—a child who left too soon, but whose lessons continue to inspire a life lived and loved.
Didn't We Almost Have It All by Gerrick Kennedy Pdf
Named a BEST BOOK OF THE YEAR... SO FAR by The New Yorker Named a BEST BOOK OF THE MONTH by The Washington Post A candid exploration of the genius, shame, and celebrity of Whitney Houston a decade after her passing On February 11, 2012, Whitney Houston was found submerged in the bathtub of her suite at the Beverly Hilton Hotel. In the decade since, the world has mourned her death amid new revelations about her relationship to her Blackness, her sexuality, and her addictions. Didn’t We Almost Have It All is author Gerrick Kennedy’s exploration of the duality of Whitney’s life as both a woman in the spotlight and someone who often had to hide who she was. This is the story of Whitney’s life, her whole life, told with both grace and honesty. Long before that fateful day in 2012, Whitney split the world wide open with her voice. Hers was a once-in-a-generation talent forged in Newark, NJ, and blessed with the grace of the church and the wisdom of a long lineage of famous gospel singers. She redefined “The Star-Spangled Banner.” She became a box-office powerhouse, a queen of the pop charts, and an international superstar. But all the while, she was forced to rein in who she was amid constant accusations that her music wasn’t Black enough, original enough, honest enough. Kennedy deftly peels back the layers of Whitney’s complex story to get to the truth at the core of what drove her, what inspired her, and what haunted her. He pulls the narrative apart into the key elements that informed her life—growing up in the famed Drinkard family; the two romantic relationships that shaped the entirety of her adult life, with Robyn Crawford and Bobby Brown; her fraught relationship to her own Blackness and the ways in which she was judged by the Black community; her drug and alcohol addiction; and, finally, the shame that she carried in her heart, which informed every facet of her life. Drawing on hundreds of sources, Kennedy takes readers back to a world in which someone like Whitney simply could not be, and explains in excruciating detail the ways in which her fame did not and could not protect her. In the time since her passing, the world and the way we view celebrity have changed dramatically. A sweeping look at Whitney’s life, Didn’t We Almost Have It All contextualizes her struggles against the backdrop of tabloid culture, audience consumption, mental health stigmas, and racial divisions in America. It explores exactly how and why we lost a beloved icon far too soon.
An NPR Best Book of the Year From 2018 Whiting Award winner Tommy Pico, Junk is a book-length break-up poem that explores the experience of loss and erasure, both personal and cultural. The third book in Tommy Pico’s Teebs trilogy, Junk is a breakup poem in couplets: ice floe and hot lava, a tribute to Janet Jackson and nacho cheese. In the static that follows the loss of a job or an apartment or a boyfriend, what can you grab onto for orientation? The narrator wonders what happens to the sense of self when the illusion of security has been stripped away. And for an indigenous person, how do these lost markers of identity echo larger cultural losses and erasures in a changing political landscape? In part taking its cue from A.R. Ammons’s Garbage, Teebs names this liminal space “Junk,” in the sense that a junk shop is full of old things waiting for their next use; different items that collectively become indistinct. But can there be a comfort outside the anxiety of utility? An appreciation of “being” for the sake of being? And will there be Chili Cheese Fritos?
For fans of Old Yeller and Shiloh, Where the Red Fern Grows is a beloved classic that captures the powerful bond between man and man’s best friend. This special edition includes new material, including a note to readers from Newbery Medal winner and Printz Honor winner Clare Vanderpool, a letter from Wilson Rawls to aspiring writers, original jacket artwork, and more. Billy has long dreamt of owning not one, but two dogs. So when he’s finally able to save up enough money for two pups to call his own—Old Dan and Little Ann—he’s ecstatic. It’s true that times are tough, but together they’ll roam the hills of the Ozarks. Soon Billy and his hounds become the finest hunting team in the valley. Stories of their great achievements spread throughout the region, and the combination of Old Dan’s brawn, Little Ann’s brains, and Billy’s sheer will seems unbeatable. But tragedy awaits these determined hunters—now friends—and Billy learns that hope can grow out of despair. Praise for Where the Red Fern Grows A Top 100 Children’s Novel, School Library Journal A Must-Read for Kids 9 to 14, NPR A Great American Read's Selection (PBS) Winner of Multiple State Awards Over 14 million copies in print! “A rewarding book . . . [with] careful, precise observation, all of it rightly phrased....Very touching.” —The New York Times Book Review “One of the great classics of children’s literature . . . Any child who doesn’t get to read this beloved and powerfully emotional book has missed out on an important piece of childhood for the last 40-plus years.” —Common Sense Media “An exciting tale of love and adventure you’ll never forget.” —School Library Journal “A book of unadorned naturalness.” —Kirkus Reviews “Written with so much feeling and sentiment that adults as well as children are drawn [in] with a passion.” —Arizona Daily Star “It’s a story about a young boy and his two hunting dogs and . . . I can’t even go on without getting a little misty.” —The Huffington Post “We tear up just thinking about it.” —Time on the film adaptation
He Died With a Felafel in His Hand by John Birmingham Pdf
Here for the first time is the full horror and madness of sharing a house, told by someone who’s been there. Birmingham pulls no punches: from dead rats in the kitchen to tent-dwelling lodgers in the living room, you’ll run for the safety of living alone.
“Haunted and haunting. . . . With fearlessness and humility, in a narrative that flows more artfully than ever between destruction and rebirth, Erdrich has opened herself to possibilities beyond what we merely see—to the dead alive and busy, to the breath of trees and the souls of wolves—and inspires readers to open their hearts to these mysteries as well.”— Washington Post Book World From the author of the National Book Award Winner The Round House, Louise Erdrich's breathtaking, lyrical novel of a priceless Ojibwe artifact and the effect it has had on those who have come into contact with it over the years. While appraising the estate of a New Hampshire family descended from a North Dakota Indian agent, Faye Travers is startled to discover a rare moose skin and cedar drum fashioned long ago by an Ojibwe artisan. And so begins an illuminating journey both backward and forward in time, following the strange passage of a powerful yet delicate instrument, and revealing the extraordinary lives it has touched and defined. Compelling and unforgettable, Louise Erdrich's Painted Drum explores the often-fraught relationship between mothers and daughters, the strength of family, and the intricate rhythms of grief with all the grace, wit, and startling beauty that characterizes this acclaimed author's finest work.