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Half-Truths and Krazy Short Stories by Edgar Swift Pdf
This book presents several chapters written by this author using the pseudonym Ole Ed. The impetus for my writing these stories was to reduce the burden that I experienced from a very hectic air travel schedule that I endured before finally retiring from the Fortune 5 corporation that I was employed by for thirty years! I became bored from picking up the same ole magazines on airplanes and reading the same ole stuff. I hope that these stories will provide you with a little bit of light, pleasurable reading during your travels to places afar that I probably no longer yearn to go to. All the stories presented in this book are based partially on my actual life experiences, hence, the title HalfaEUR"Truths . . . I have tried to word the title of each story in a way that will not give you a hint of how that story will end. Have fun, and guess your heart out!
Tales of Half Truths is a collection of fifteen short stories spanning the gamut of human emotions and literary styles, spinning the reader through the centuries. From historic fiction to science fiction, this collection of short stories brings an eclectic cast of memorable characters to life--pirates and warrior queens, snipers and sultans, defrocked priests and grandmother nuns, sages and surfers. Covering topics of lost love, betrayed trust, renewed faith, slavery, postpartum depression and post-traumatic stress, alcoholism and abuse, the author pulls the reader into each story with descriptive imagery and engaging dialogue. The collection leads off with Espoused, a love story. Born in Boston and raised in an Irish convent after the death of her parents, Adeline returns to America to claim her inheritance. Accompanied by her uncle, former schooner captain to Kamehameha's, the young beauty voyages to Hawaii where she catches the eye of Sheamus Campbell, heir to a sugar dynasty. As Campbell's dark past resurrects after the death of his daughter, he flees unexpectedly, leaving his love-struck bride in the doting hands of the Earl of Suffield's fourth son, Clement Sanborn. Shooting Stars is a story about entangled love in which Paul is stuck on Dian, who is dating Vance, who jilted Tessa. Just as things are about to possibly unravel, tragedy strikes. Happy Hour is a romantic short story about frustrated and non-requited love. Whereas in the story, Molokai, middle aged Chesapeake Bay outrigger canoeist, Margaret draws from her Hawaiian upbringing when her longtime lover, Eric, abandons her. The tides turn for Eric when his other woman gets the baby bug. Meanwhile, back on the island, Margaret's younger sister, Lanna, works at their grandmother's spiritual healing center when not otherwise entangled with world class extreme surfer, Fitz.In Apache, White Feather sits perched in the canopy, high above the La Tho River, with a $30,000 price on his head. A platoon of Vietcong snipers had been stalking him for days. His scope, however, was set on a small, thin woman pacing in the shadows of her houch. Valley of the Moons introduces Luke, a Marine recently returned stateside after his second tour in the Middle East, hits the trails on the Channel Islands trying to muster the courage to tell his father, a career Marine, that he won't be reenlisting. Meanwhile, his weathered father, recently retired, contemplates how to live with himself, knowing the things he's done in the name of Freedom.The sic-fi short story, The Cataclysm, opens with Aerospace maverick, Hal Buchanan, tearing through the upper stratosphere along with the 3d Space Experimentation Squadron, looking for signs of life on Earth. Mountains had come crashing down while continents collapsed, and the seas surged over cities, swallowing civilization. The poles had shifted and life for the few who survived would never again be the same.Mystery abounds in Stepping Stone, Lily, a tenant in a farm hand house located on a colonial estate, lives quietly with her plants and tropical killer fish. She is an unimportant person living an uneventful life. Then, she finds a set of iron keys that open a hidden box containing old letters written by a young woman, chosen hundreds of years before as a mail order bride by one of Maryland's legendary pirates who had built a mansion on the cliffs of Whitehall. During the restoration of the historic site, the current owners discovered a secret passageway studded with gold galleons but have yet to find the keys.The final story, Prince of Passion, follows Javier who disappears when his childhood sweetheart dies. He is found a few days later standing over the dead body of her estranged boyfriend, self-proclaimed Don Juan, Jose Cassavante. Only, it wasn't him who had pulled the trigger.
In the tradition of Schulz and Peanuts, an epic and revelatory biography of Krazy Kat creator George Herriman that explores the turbulent time and place from which he emerged—and the deep secret he explored through his art. The creator of the greatest comic strip in history finally gets his due—in an eye-opening biography that lays bare the truth about his art, his heritage, and his life on America’s color line. A native of nineteenth-century New Orleans, George Herriman came of age as an illustrator, journalist, and cartoonist in the boomtown of Los Angeles and the wild metropolis of New York. Appearing in the biggest newspapers of the early twentieth century—including those owned by William Randolph Hearst—Herriman’s Krazy Kat cartoons quickly propelled him to fame. Although fitfully popular with readers of the period, his work has been widely credited with elevating cartoons from daily amusements to anarchic art. Herriman used his work to explore the human condition, creating a modernist fantasia that was inspired by the landscapes he discovered in his travels—from chaotic urban life to the Beckett-like desert vistas of the Southwest. Yet underlying his own life—and often emerging from the contours of his very public art—was a very private secret: known as "the Greek" for his swarthy complexion and curly hair, Herriman was actually African American, born to a prominent Creole family that hid its racial identity in the dangerous days of Reconstruction. Drawing on exhaustive original research into Herriman’s family history, interviews with surviving friends and family, and deep analysis of the artist’s work and surviving written records, Michael Tisserand brings this little-understood figure to vivid life, paying homage to a visionary artist who helped shape modern culture.
"Why do we lie? What types of lies are there? What are the consequences of lying? What methods are used to detect lies? And when is it okay or even good to lie? From forgeries and hoaxes to plagiarism and placebos, [this book] offers historical anecdotes, scientific studies, and sociocultural analyses to help unpack the complex world of untruths"--Amazon.com.
Honorable Mention Recipient for the Charles Hatfield Book Prize Taking up the role of laughter in society, How the Other Half Laughs: The Comic Sensibility in American Culture, 1895–1920 examines an era in which the US population was becoming increasingly multiethnic and multiracial. Comic artists and writers, hoping to create works that would appeal to a diverse audience, had to formulate a method for making the “other half” laugh. In magazine fiction, vaudeville, and the comic strip, the oppressive conditions of the poor and the marginalized were portrayed unflinchingly, yet with a distinctly comic sensibility that grew out of caricature and ethnic humor. Author Jean Lee Cole analyzes Progressive Era popular culture, providing a critical angle to approach visual and literary humor about ethnicity—how avenues of comedy serve as expressions of solidarity, commiseration, and empowerment. Cole’s argument centers on the comic sensibility, which she defines as a performative act that fosters feelings of solidarity and community among the marginalized. Cole stresses the connections between the worlds of art, journalism, and literature and the people who produced them—including George Herriman, R. F. Outcault, Rudolph Dirks, Jimmy Swinnerton, George Luks, and William Glackens—and traces the form’s emergence in the pages of Joseph Pulitzer’s New York World and William Randolph Hearst’s Journal-American and how it influenced popular fiction, illustration, and art. How the Other Half Laughs restores the newspaper comic strip to its rightful place as a transformative element of American culture at the turn into the twentieth century.
Lies and Half Truths is adult fiction, definitely not for the faint-hearted. Forget surprise endings, Woodcutter's Vengeance will shock you. Always There will leave you wondering, is it true, or is it fiction?
Morpheus Tales: The Best Weird Fiction Volume 6 by Adam Bradley,Matt Leyshon,Stuart Hughes,Lee Clark Zumpe Pdf
Collected together for the first time, the best weird fiction from Morpheus Tales, the UK's most controversial weird fiction magazine! Only the very best weird fiction has been hand-picked from the Morpheus Tales archives to create the sixth collected volume of the magazine Christopher Fowler calls "edgy and dark". Featuring fiction by Richard Wolkomir, Stuart Hughes, Ty Schwamberger, Paul Johnson-Jovanovic, Matthew Acheson, K. Scott Forman, Charles D. Romans, Craig Saunders, Matt Leyshon, Michael Lejeune, Michelle Ann King, Bruce L. Priddy, Douglas J. Ogurek, Harley Carnell, Stephen McQuiggan, Joe Mynhardt, David McGuire, Richard Farren Barber, Lee Clark Zumpe, Todd Outcalt, Kevin G. Bufton, Charles Austin Muir, Michael W. Clark, Anthony Baynton, Stephen Hernandez, Holly Day, Craig W. Steele, A.A. Garrison, David Barber, John S. Barker, David Buchan. Established horror best-sellers rub shoulders with rising stars and newcomers in this diverse collection of short weird fiction.
WINNER OF A NATIONAL JEWISH BOOK AWARD A USA TODAY BESTSELLER "A gifted writer, astonishingly adept at nuance, narration, and the politics of passion."—Toni Morrison Set in London of the 1660s and of the early twenty-first century, The Weight of Ink is the interwoven tale of two women of remarkable intellect: Ester Velasquez, an emigrant from Amsterdam who is permitted to scribe for a blind rabbi, just before the plague hits the city; and Helen Watt, an ailing historian with a love of Jewish history. When Helen is summoned by a former student to view a cache of newly discovered seventeenth-century Jewish documents, she enlists the help of Aaron Levy, an American graduate student as impatient as he is charming, and embarks on one last project: to determine the identity of the documents' scribe, the elusive "Aleph." Electrifying and ambitious, The Weight of Ink is about women separated by centuries—and the choices and sacrifices they must make in order to reconcile the life of the heart and mind.
Tony De Vita exposes the idiosyncratic facades of inimitable characters any veneer of civility, conformity, is peeled back as their behavior exposes the subterfuge that transform an idyllic landscape into an arcane thicket of deceit - and murder. Builders Sal Ridiccio, acrophobic master craftsman and Julius, younger brother who would rather nail a pliant broad than a plywood board. Su, Chinese wife, owner of Pointy House with husband, Skip Meriwether, painter with two ears and poet without a hunchback. Regina, current wife of Julius, steel tipped shoed, with a steel tipped tongue who asserts Julius moves his lips when he reads the back of a cereal box. Melissa, first wife of Julius, redheaded firebrand who is determined to solve murders for Trooper Detective John Demetrius. Tagged Cockeye for his physical perambulations and cerebral perturbations by partner Tim Kraze Kurtz. Lilliputian Moe Brown, brobdingnagian wheeler-dealer - verbally vulgar Blue Mingoe Casino facilitator. Babs and Mandy, Moes nieces/bodyguards - with more plastic in their revealing bras than in their concealed holsters. Joe Smith, Gooey Pond Park Ranger - Native American Blue Mingoe - who swaps peanuts for his squirrels for chips of his Blue Mingoe Casino.
Breaking Bad and Cinematic Television by Angelo Restivo Pdf
With its twisty serialized plots, compelling antiheroes, and stylish production, Breaking Bad has become a signature series for a new golden age of television, in which some premium cable shows have acquired the cultural prestige usually reserved for the cinema. In Breaking Bad and Cinematic Television Angelo Restivo uses the series as a point of departure for theorizing a new aesthetics of television: one based on an understanding of the cinematic that is tethered to affect rather than to medium or prestige. Restivo outlines how Breaking Bad and other contemporary “cinematic” television series take advantage of the new possibilities of postnetwork TV to create an aesthetic that inspires new ways to think about how television engages with the everyday. By exploring how the show presents domestic spaces and modes of experience under neoliberal capitalism in ways that allegorize the perceived twenty-first-century failures of masculinity, family, and the American Dream, Restivo shows how the televisual cinematic has the potential to change the ways viewers relate to and interact with the world.
The events unfolded in these tales, the collected shards of my fractured memories, are neither sworn truths nor total fictions. We all know that two different witnesses to the same history standing right beside each other are likely to have differing opinions as to what just transpired before them. Because perceptions, those mirrors to our souls that authors are damned to try and change in others, are born of deeper stuff than mere experiences of perspective. How do you change another person's perceptions? The weight of human experience strongly suggests that this is rarely accomplished by telling the naked truth. So, as an author, I am compelled to call this collection of memories "fiction" even though the survivors and witnesses of these stories, both named and unmentioned, might own differing perceptions concerning the veracity of the situations described herein. And, because these stories were less written by me than gifted to me by The Universe, I can no more vouch for the Absolute Truths included than I can deny actually experiencing these events. The rest is just hyperbole.
