Tom Willock’s first book, Green River Rising, earned the kind of reviews that are rarely accorded to most so-called literary thrillers. This remarkable debut was hailed for its rich, powerful writing as well as its dramatic, page-turning suspense. The New York Times Book Review called it “beautifully vivid” and “triumphantly realized,” while People called it “as fine a thriller as one could ask for.” The author’s much-anticipated second novel is as powerful and ambitious as its predecessor. Set in New Orleans and the rural South, it is the story of a chain of cataclysmic events let loose by the murder of Clarence Jefferson, a legendary lawman who has gathered a cache of evidence that could imprison corrupt politicians in five states. His last act, it appears, was to handpick two people as the unlucky heirs of his potentially explosive evidence files. The pair must either dispose of them as fast as they can or—at considerable risk to themselves—deliver the files to the authorities. Lenna Parillaud and Dr. Cicero Grimes, Jefferson’s “beneficiaries,” have never met. Lenna, a millionaire businesswoman, has been racked by grief and rage over the loss of her daughter. Dr. Grimes is a clinically depressed psychiatrist. Though both have burdens enough of their own, they are swept up into this story of Southern violence, passion, and vengeance, the likes of which perhaps only the readers of Willocks’s previous novel can imagine. Compared by critics to Norman Mailer, James Ellroy, Stephen Hunter, and Andrew Vachss, Willocks offers a unique amalgam of gritty realism and something more—a depth and intensity that is seldom achieved in popular fiction.
Discover the Joy of Not Thinking... When I was sixteen, I had a mental breakdown. It happened while I was on vacation in the Caribbean with my family. I'd been reading an old Zen book, and it did me in. I'd experienced some strange mental states before, but this was different. As I read this book, death moved to the foreground of all my thoughts--and then stayed there. I found myself in a tropical paradise, terrified. Living seemed too cruel to carry on with. Buddha had said all life was suffering and all that meant was that everything was hopeless. There was no way out. Escape was impossible. When you looked at things soberly, it was obvious. Life, inevitably, was really just suffering and death. I kept this anxiety to myself as best I could. There was nothing to say anyway. No one could help. I was helpless, mortified, but aware that I was unable to do anything about it. The stress began to wear on my body. It felt worse and worse. I would have killed myself right there if death didn't scare me even more than life. I reasoned if I killed myself at least this particular suffering would be over. These feelings peaked and then went on, and on, and on. At some point, I took a drive with my family to a beach on the other side of the island. It was bad. My insides felt as if they were being torn out. I didn't understand what was happening. I felt like vomiting but couldn't. Finally, we arrived at the beach. I sat under a tree, in the shade, trying to act sane. And then I thought I died. Something happened and then nothing. And then there was something again. I don't know. Was I dead? I looked around and realized I wasn't. I was on the beach, under a tree. But there was no "I." Everything was different. Everything had dropped off. Where was "I"? I didn't exist. What was happening? What was this? It was indescribable. You couldn't describe this. Any description was pointless. Everything was perfect just as it was, but at the same time, it wasn't that. Because there was no everything. There was nothing at all. There was no need to describe anything ever again because there was nothing. Words and description were meaningless. Nothing was real. Nothing mattered! And this was, undoubtedly, the best news possible. The greatest realization I could wish to have. Yet that couldn't begin to explain how good this was. It was way beyond any conception I could come up with. Everything, and everybody, was saved. That was clear. Everything was fine--now and forever. Nothing needed to be done, ever. The whole thing--life, death, reality, individuality, good, bad, right, wrong--was a lie. An illusion. A sham. Everything just was--just is. And this was perfection, beyond any belief, rationalization or label I could ever put on it. It made no sense, and it was perfect. It was before time itself. It transcended thought, was past my comprehension. Thought created all this suffering--and thought itself was not real. Without thought, all was grace--always. It was all blissfully and blatantly simple, yet totally illogical. I sat on that beach, thunderstruck. It was laughable. Whatever you thought, it didn't matter. Thought had nothing to do with anything real. Everything was always perfect, no matter what you thought...
Set in New Orleans and the rural South, Bloodstained Kings is the story of cataclysmic events let loose by the murder of Clarence Jefferson, a legendary lawman who has gathered a cache of evidence that could imprison corrupt politicians in five states. His last act was to handpick two unlucky heirs to his explosive information - two people with problems enough of their own who are now swept into violence, passion and vengeance, the likes of which they've never known.
Tom Willock’s first book, Green River Rising, earned the kind of reviews that are rarely accorded to most so-called literary thrillers. This remarkable debut was hailed for its rich, powerful writing as well as its dramatic, page-turning suspense. The New York Times Book Review called it “beautifully vivid” and “triumphantly realized,” while People called it “as fine a thriller as one could ask for.” The author’s much-anticipated second novel is as powerful and ambitious as its predecessor. Set in New Orleans and the rural South, it is the story of a chain of cataclysmic events let loose by the murder of Clarence Jefferson, a legendary lawman who has gathered a cache of evidence that could imprison corrupt politicians in five states. His last act, it appears, was to handpick two people as the unlucky heirs of his potentially explosive evidence files. The pair must either dispose of them as fast as they can or—at considerable risk to themselves—deliver the files to the authorities. Lenna Parillaud and Dr. Cicero Grimes, Jefferson’s “beneficiaries,” have never met. Lenna, a millionaire businesswoman, has been racked by grief and rage over the loss of her daughter. Dr. Grimes is a clinically depressed psychiatrist. Though both have burdens enough of their own, they are swept up into this story of Southern violence, passion, and vengeance, the likes of which perhaps only the readers of Willocks’s previous novel can imagine. Compared by critics to Norman Mailer, James Ellroy, Stephen Hunter, and Andrew Vachss, Willocks offers a unique amalgam of gritty realism and something more—a depth and intensity that is seldom achieved in popular fiction.
Seminar paper from the year 2004 in the subject English Language and Literature Studies - Literature, grade: 1,0, University of Dusseldorf "Heinrich Heine" (Anglistisches Institut II - Abteilung für Amerika-Studien), course: American Nature Poetry: From The Puritans To The Present, language: English, abstract: Table of Content: 1. Introduction 2. Religious Background to Dickinson’s Poetry 3. Nature and Religion in Emily Dickinson’s Poems 3.1. A Mystical View – The Divine in Nature 3.2. Turning Around – A Sacramental View on Nature 3.3. Towards a Pessimistic View on Nature 4. Concluding Remarks 5. References 1. Introduction: Emily Dickinson is without doubt one of America’s most interesting and fascinating authors, especially with regard to her quite extravagant vita, living secluded from the public for the majority of her life and not even leaving her house. Confining herself exclusively to poetry, she has created poems of marvellous emotional impact and this especially holds true for her poetry dealing with nature. As there is hardly any poem on nature by her that does not have allusions to or is combined with religious themes, it makes this branch of her work even more interesting to deal with. But to be able to grasp all the allusions Dickinson has made to religion in various ways, her Calvinist-based church and the like, it is necessary to have an insight into her religious life, which is why a brief outline of her religious vita stands at the beginning of this paper. There are many writings which deal with Dickinson’s faith and the religious topics in her work – among them those used as references in this paper like the works by Doyle, Klein and Knapp, for instance. Jane Donahue Eberwein, a well-respected Dickinson specialist, puts a lot of emphasis on Dickinson’s poetry with regard to the poet’s Calvinist heritage in her writings, all of which are worth reading. One can find references to religion in more than only Dickinson’s nature poems, for example her poems on the life of Christ, but I will exclusively deal with her poems on nature, primarily focusing on “her quest for knowledge of the divine” , as Grimes puts it, and how this is reflected in her poetry. A few poems shall be exemplary for this and will be commented on. However, each of them will not be analyzed in too much detail. First and foremost, the main goal is to give an overview on how Dickinson refers to the deity through her poetry and how this view on the divine and (parallely) on nature changes over the course of her life.
Josh is still flying high from his team's tournament win at Cooperstown when his parents start talking about a divorce. Now his dad is challenging him to play the best of the best at the Little League World Series in Williamsport, Pennsylvania. But does he just want to get Josh out of the way? Two things are sure: His father's new girlfriend, Diane, is looking to change things, and Josh is determined to get her and her terrible son out of his life. With the help of Benji and Jaden, Josh races to get the facts that can keep his family together—but it's ever harder to concentrate on the game and make the winning plays that will lead his team to victory. In his compelling style, Tim Green delivers great sports action and more—a fast-paced adventure about friendship, the power of becoming a team, and finding a way to get what you need when you can't have what you want.
Twenty-five years ago, a young Australian museum curator named Tim Flannery set out to research the fauna of the Pacific Islands. Starting with a survey of one of the most inaccessible islands in Melanesia, the young scientist found himself ghost whispering, snake wrestling and Quadoi hunting in search of a small bat that turned out not to be earthshatteringly interesting. With accounts of discovering, naming and sometimes eating new mammal species; being thwarted or aided by local customs; and historic scientific expeditions, Flannery, now one of the world’s top environmentalists, takes us on an enthralling journey through some of the most diverse and spectacular places on earth.
‘Every self-respecting religion needs its bible and now, thanks to Tim Hayward, steak has its own. Steak is a work of endearing nerdiness, detailed scholarship and profound appetite.’ – Jay Rayner ‘Learned and witty, this timely, brilliant book is a treatise on the wonders of steak cooking, dispelling myth and instilling sage wisdom.’ – Jeremy Lee ‘Wow, an amazing book by an incredible writer who knows how to engage you from the first sentence. An encyclopaedia on steak which every young chef should read, or anyone who owns a pair of tongs!’ – Angela Hartnett ‘A real beauty of a book – surprising, fascinating, full of wit and so many things I never knew – a book you can really sink your teeth into!’ – Adrian Edmonson ‘It’s the book we needed when we started Hawksmoor, and the book that people who love steak deserve.’ – Will Beckett The essential reference for steak lovers. An encyclopaedic yet accessible journey through the world of chefs, farmers, butchers and restaurants, Steak is the essential guide for enthusiasts improving their kitchen skills or diners chasing the greatest steaks around the world. With stories, recipes, traditional cooking techniques and cutting-edge new ones, you’ll never again overcook a steak or wonder which cut to buy. Plus there’s a guide to butchery, a cooking course (including some steak science)… and Cow Maps. Steak takes an in-depth look at the historical, cultural and social significance of our favourite cut of meat, and how we might continue to enjoy it sustainably into a long future – it’s the ultimate handbook for anyone who cares about sourcing and cooking great food.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.