Kamis, 27 Februari 2014

[V510.Ebook] Ebook Free What Hurts the Most: An engrossing, heart-stopping thriller (7th Street Crew Book 1), by Willow Rose

Ebook Free What Hurts the Most: An engrossing, heart-stopping thriller (7th Street Crew Book 1), by Willow Rose

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What Hurts the Most: An engrossing, heart-stopping thriller (7th Street Crew Book 1), by Willow Rose

What Hurts the Most: An engrossing, heart-stopping thriller (7th Street Crew Book 1), by Willow Rose



What Hurts the Most: An engrossing, heart-stopping thriller (7th Street Crew Book 1), by Willow Rose

Ebook Free What Hurts the Most: An engrossing, heart-stopping thriller (7th Street Crew Book 1), by Willow Rose

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What Hurts the Most: An engrossing, heart-stopping thriller (7th Street Crew Book 1), by Willow Rose

Engrossing mystery from an Amazon ALL-star Best-selling author.You will never guess the ending!

Am I pretty?

Imagine being asked that question standing face to face with a killer. What would you answer?

While her life is going from bad to worse, journalist Mary Mills receives a phone call from her father telling her that her brother has been arrested for murder. Mary decides to go back to her hometown of Cocoa Beach, Florida, which she left twenty years back and has never visited since.

Working with her old friends from the 7th Street Crew, she tracks down the most disturbing and surprising killer this town has ever faced before a shocking conclusion turns everything upside down for them.

Determined to solve the murder and to have her brother acquitted, Mary is forced to face demons from her past she never thought she would have to again.

˃˃˃ What Hurts the Most is a chilling, fast-paced story of murder and revenge.

It’s the first in Willow Rose’s new series about Mary Mills and her childhood friends from 7th Street. It is full of the twists and turns that Willow Rose is known and loved for by readers all over the world.

Grab your copy today.

  • Sales Rank: #2809 in eBooks
  • Published on: 2015-11-20
  • Released on: 2015-11-20
  • Format: Kindle eBook

Review
Readers love this series - More than 300 reviews of 5* and 4* on Amazon and Goodreads!!

WHAT PEOPLE ARE SAYING ABOUT THE 7TH STREET CREW: 

'Definitely a good read for anyone who likes a good mystery with a little bit of everything on the side.' - Goodreads review
 
'Ready for a wild ride with Willow at the helm.' - Kindle review
 
'I don't bite my nails, but I was here. How Ms. Rose does it -- writes book that have you there-- I simply do not know. I grew up in Florida, and her Florida scenes are true to life.' - Goodreads review
 
'Bottom line: Willow Rose continues to write fabulous novels that entertain us, freak us out, & make us think.' - Goodreads review
 
'Loved it! Great book, entire series has been great!' -Kindle reviewer
 
'Just love the way Willow weaves family, people, psychological understanding, and crime mysteries to get to the bottom of things.' -Goodreads review
 
'She keeps you wanting to keep reading until the end and always keeps you guessing. A must read!' - Goodreads review
 
'...they are all quite addicting and a great read on my day off. I just love her stories and characters' - Goodreads review
 
'Willow Rose has launched a brand new series with tremendous potential. True to her other novels, this one is creepy, suspenseful, & has a strong female lead.' - Goodreads review
 
'I love that Willow gives links to some of the articles she used in her research at the end of the book, very interesting' - Goodreads review

From the Inside Flap
Books in this series:

  • What Hurts the Most (7th Street Crew #1)
  • You Can Run (7th Street Crew #2)
  • You Can't Hide (7th Street Crew #3)
  • Careful Little Eyes (7th Street Crew#4) Coming fall 2016

About the Author
Books in this series:

  • What Hurts the Most (7th Street Crew #1)
  • You Can Run (7th Street Crew #2)
  • You Can't Hide (7th Street Crew #3) 
  • Careful Little Eyes (7th Street Crew #4) coming fall 2016

Most helpful customer reviews

18 of 18 people found the following review helpful.
Great new series
By Avid reader
I enjoyed the characters in this new series. Seems the writing was tighter than her other series. Good story, good character development, unexpected twist. Looking forward to reading more about these people. Love the setting of this series. I'm reading in 30 degree weather but feeling warm as I read about the sun and beach!

41 of 46 people found the following review helpful.
Poorly written, with clumsy dialogue and a violent sadistic ...
By klm
Poorly written, with clumsy dialogue and a violent sadistic plot.

44 of 51 people found the following review helpful.
Not for me
By Judith P. Hine
Even though I received this book for free for an honest review, I could not finish it. Too dark. Too much violence. Sorry, just not my kind of mystery. Actually, in five chapters I didn't get to a mystery.

See all 140 customer reviews...

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[B231.Ebook] Ebook Free A Few of the Girls, by Maeve Binchy

Ebook Free A Few of the Girls, by Maeve Binchy

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A Few of the Girls, by Maeve Binchy

A Few of the Girls, by Maeve Binchy



A Few of the Girls, by Maeve Binchy

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A Few of the Girls, by Maeve Binchy

A new collection of stories previously unpublished in the United States by beloved and best-selling author Maeve Binchy
Maeve Binchy's best-selling novels not only tell wonderful stories, they also show that while times change, people often remain the same: they fall in love, sometimes unsuitably; they have hopes and dreams; they have deep, long-standing friendships, and others that fall apart. From her earliest writing to her most recent, Maeve's work has included wonderfully nostalgic pieces and also sharp, often witty writing that is insightful and topical. But at the heart of all Maeve's fiction are the people and their relationships with each other."A Few of the Girls"is a glorious collection of the very best of her writing, full of the warmth, charm, and humor that has always been essentially Maeve."

  • Sales Rank: #2895228 in Books
  • Published on: 2015
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.45" h x 1.46" w x 6.18" l, 1.58 pounds
  • Binding: Hardcover

Review

“A short story by Binchy is immediately recognizable for its blessed brevity, swift pace, poignant wit and unfailingly wise and gentle psychology. This posthumously published collection gathers 36 stories from various nook’s in Binchy’s writing life. . . Honestly, every one is marvelous. . . . A Few of the Girls is a string of gems, and, despite its title, it is not just fiction for women, any more than it is just a book for Irish and English readers.” —Pamela Miller, Minneapolis Star Tribune

“Exploring the complex nature of relationships in the melodic prose that became her trademark, Binchy charts the dynamics of romance, the politics of family and the stipulations of friendship. When it comes to capturing the caprices of the human heart, she’s unbeatable. Readers will recognize themselves in her nuanced portrayals of women and men whose goals and regrets, dreams and disappointments never feel less than true-to-life. There’s no better antidote to a raw March evening than a dose of vintage Binchy.” —Julie Hale, BookPage

“The stories cover a broad range of human experiences for which Binchy had a unique talent for expressing . . . There are no flashy literary pyrotechnics, just solid, old-fashioned storytelling. Binchy displays a deep understanding of human nature that strikes a balance between idealists and realists, the cynical and the hopeful . . . At times whimsical, at times somber, Binchy had a keen sense for the nuances of relationships, and the inherent contradictions and quirks of human behavior. A Few of the Girls is a fitting tribute to a beloved and much-missed writer.” —Eleanora Buckbee, Everday eBook

“Binchy’s unique voice is reminiscent of a letter from an old friend.” —Vicki Briner, Library Journal

“In true Binchy fashion, these gentle stories revolve around universal themes of love, loyalty, friendship, compassion, and perseverance. The exploration of human relationships never ceases to fascinate and the author’s ability to empathetically depict the ups and downs of ordinary people living in authentic circumstances translates well to a briefer format. Tying all the stories together is, of course, their trademark comfy settings, and devoted fans will relish another armchair visit to Ireland.” —Margaret Flanagan, Booklist

“Short stories that thrill, entertain and delight readers like only Binchy can. . . . Without a doubt, Binchy is a masterful storyteller. In this work is a variety of stories that appeal to the heart and mind.” —Tmoura Gardener, The Baton Rouge Advocate


“The stories bring to life well-developed characters, often in the space of a few paragraphs, and brim with Maeve’s warmth and common sense. She writes particularly well on loneliness, and about the hopes and fears of young people on the cusp of adulthood.” —Irish Independent

“This new collection of Maeve’s beloved short stories will force you to put down your smartphone in favour of your favourite armchair and this hardback. Featuring some of her best works it is a fine tribute to a very fine author.” —Image

“These stories are full of warmth and humour . . . easy to read and an ideal present for any of her fans.” —Woman’s Way

“The wit, humanity and truths of dearly departed Maeve Binchy live on in her absorbing fictions as this collection of 41 stories proves.” —RTE Guide

About the Author
MAEVE BINCHY is the author of numerous best-selling books, including her most recent, "Maeve's Times, Chestnut Street, A Week in Winter, "and"Minding Frankie, "as well as"Circle of Friends"and"Tara Road, "which was an Oprah's Book Club selection. Married to Gordon Snell, she lived in Dalkey, Ireland, until her death in July 2012."

Excerpt. © Reprinted by permission. All rights reserved.
The Bargain
 
When Cara met Jim at a party the rest of the world seemed to dis­appear; they stood looking at each other with delight and listening to each other in fascination, as if they were old friends.
When the evening was over, they knew they would meet again and everyone else knew as well.
So they met the following day for lunch, and that turned into a walk beside the canal, and they spent so long over a cup of coffee that the waitress had to ask them to order another one or leave.
They were both aged twenty-eight, they loved travel and jazz and cooking and dogs.
His mother had died three years ago. Her father had died at the same time.
Jim knew the fellow who was giving the party because he had been on the same hurling team as him, way back when they were kids.
Cara knew him because he was a driving instructor and he had helped her to get her test.
Cara was a short story writer. She had gone to the party to cel­ebrate having finished her latest collection of stories.
Jim sold agricultural machinery. He had come to Dublin to celebrate a big sale and his father making him a partner in the business.
Finally, they hit one problem.
Cara lived in Dublin. Jim lived two hundred miles away in the country.
He was going back home the following morning. So they talked nearly all night about what they would do and finally, exhausted, they agreed that Cara would make the journey to Jim’s part of the world the next weekend.
They made a bargain.
If Cara hated it she was to say so. If she thought that she could manage to write her stories there, and that she wouldn’t miss her Dublin life too much, then she would say that and they would get married as soon as possible.
That’s how sure they were in less than forty-eight hours.
So they both waited nervously for Cara’s visit.
It involved a train journey, followed by a bus trip. Jim was standing there waiting at the bus stop. Cara’s heart leaped when she saw him look anxiously at the bus in case she might not be on board. She saw the smile light up his face. He was so generous and warm.
Please may this not be a desperate place, she prayed silently.
Jim couldn’t leave his father and the business they had both built up. She knew that. And she would be the one who should move. She lived at home with her mother and a big family of broth­ers and sisters. Her younger sister would get Cara’s bedroom. Life would go on without her. But Jim could not possibly leave home. His father and his four sisters depended on him to keep the busi­ness going.
Surely it couldn’t be too bad a place? It had produced Jim, after all. But the countryside looked very wild and woolly as the bus had hurtled along. Frightening-looking goats, or sheep maybe, but probably goats. They had terrifying curvy horns. Small, rough fields divided by stone walls . . . It was very far from anywhere, anywhere normal. But she nailed a smile on her face and he held her in his arms for a long time.
“I was afraid you might not come,” he said.
 
 
They drove together down one of the four streets in the town and out into the countryside.
The house where Jim lived had old roses in the garden and sweet peas, and the grass had been freshly cut.
“I did that this morning,” Jim said. “I was too excited to do anything else. They wouldn’t let me near work in case I gave the machinery away.”
His father was stooped over a stick, standing at the door to welcome them.
“He told me that you were a lovely girl, Cara, and he didn’t exaggerate,” he said with a big, broad smile just like his son’s.
Jim’s sisters were in the kitchen, trying not to look too eager to examine her. The eldest one was Rose. The bossy one, Jim had said. She was married to a rich man about twenty miles away. A miserly man, Jim had said, who didn’t like Rose wasting his earnings on things like hairdos and clothes. She was very forthright, he said, sometimes too forthright. Rose looked Cara up and down.
“We don’t often have visitors,” she said, “but we’ve prepared a room for you. It will be separate rooms, I’m afraid. This is my father’s house and we have standards.”
“I’m glad to hear it,” Cara replied with spirit. “It would have been extremely embarrassing if it had been otherwise. Jim and I don’t know each other very well yet, and certainly not well enough to share a room.”
The other girls giggled. And even Rose looked at her with some respect.
Cara had won that round.
Jim had said that he would build a house nearer to the town. He had the land already and she would help him choose what kind of house. They would have a big studio where Cara would write, a small office where Jim would do his accounts, and plenty of rooms for when the children came along.
Together they would plant herbs and vegetables and flowers.
She looked around the table as they sat down for a late lunch; a lunch in her honor, with a full turnout to inspect and welcome her. Would these be her closest friends and contacts from now on if she were to make this giant leap and live here?
Could she bear trying to keep Rose in her place and to encourage the awkward, shyer younger ones, who seemed hesitant of themselves and doubting that they had anything to say unless it was drawn out of them?
Would she become involved in the machinery that Jim and his father were buying and selling?
Would she find anything to write about in this empty landscape and the small town with the four streets, one church, seventeen shops, and five public houses?
It would be ridiculous to make a decision on the basis of one weekend.
And anyway, Jim would have to come and meet her family and get to know them too. They didn’t need to rush things, did they?
Then she looked across the table at him, his face beaming with pride that she was there, and she knew that there was no point in hanging about. This really was the kind of man she had dreamed of and never met. What did it matter where they lived, really?
They would not let Cara help with the washing up. Cara noticed that Rose filled a container with leftover food. “Waste not, want not,” she said when she saw she was being observed.
“Oh, you’re so right. Very sensible,” Cara said hastily.
The younger girls took her on a tour to show her everything: the hens and geese, the old donkey, the orchard and the cow in the far field.
They loved this place where they had grown up.
They also loved their big brother.
“He never brought anyone home before,” said one.
“So we knew you were special,” said another.
“He talked about you all week,” said the third.
Then Jim came and drove her into town. They walked around and he saluted almost everyone he met.
“We’ll have a drink,” he said.
“Which is your local?” Cara asked.
“In a place like this, with a job like mine, they’re all my local,” Jim said and he brought her into Ryan’s.
He had obviously told everyone in the place about her. Cara realized that they were all expecting to meet her. She shook hands with a dozen people who all said to Jim that he had done well for himself up in Dublin. Amazing in the fumes of traffic and all the noise that he had managed to find such a lovely girl.
Then they went to Walsh’s pub and the other three.
In every place they had heard she was coming and Cara began to get edgy, as if she was some kind of traveling exhibition instead of a girl down from Dublin for the weekend.
Jim had a lemonade in each place and so did Cara. She felt full of fizz and bubbles. Only the café and the garage to call on and then they could go home.
“They all think you’re wonderful,” Jim said, “and so do I.”
 
 
She felt trapped and imprisoned by this marvelous man. She felt that it was all happening too quickly.
In a moment he would introduce her to the priest and they would set a day and then she would spend the rest of her life in this small, faraway place.
“It’s too soon, Jim,” she said, almost in tears. “You’re lovely. It’s all lovely. But it’s gathering too much speed, like something rolling downhill.”
“We had a bargain,” he said sadly. “If you didn’t like it you were to say so.”
“I can’t say yes or no in twenty minutes,” Cara begged.
“So it’s no then . . .” His face was lined with disappointment.
They drove back to Jim’s home in silence. His father and the girls were waiting inside eagerly. Rose had gone home to her mean husband, taking a plastic box of supper. Cara realized she hadn’t known any of these people a week ago and now she was expected to come and make her life with them.
It wasn’t fair. She had to have time to get used to it.
 
 
The supper wasn’t as jolly as the lunch had been. Jim said nothing at all and one by one the others let their chatter die down.
“I’m sure you must be tired, Cara,” Jim’s father said. “You’ll be needing an early night.”
She looked at him gratefully.
“It has been a long day. Wonderful. But it had a lot of people in it,” she said, and there was a chorus of good nights.
Jim looked like a child who had lost his lollipop.
In her bedroom Cara sat wretched on the side of her bed. It had been such a mistake to have rushed across the country after so short a time, giving rise to expectations that couldn’t be realized. Just as she was about to climb the stairs, Jim’s father had given her a big folder.
“You might like to read this, my dear,” he said. “It’s my late wife’s diary. She wrote it every day.”
“But I can’t. It’s too private. Too personal,” Cara began.
“No, she would have liked you to read it,” he said.
So she began at the start, when Maria had first come to this place. She had marveled that anyone could live so far from the bustling city where she had been born and grew up. She could not believe that it was possible to be so far from the theater and art galleries. How could anyone look out at those stony fields and go along the narrow roads without losing part of their soul?
But as the pages went on, Maria began to love the place, to know the seasons, to go hunting for mushrooms, to finding sheep that had rolled over on their backs and couldn’t get up again. Maria wrote on how she started a mobile library. She had learned to drive and took books and art books to faraway farms and villages. She got to know everyone who lived within miles around. She won­dered what she had been doing in a city of strangers, walking past people whose faces and life histories she did not know. And all through the story was a thread: even up to the very last weeks was her love for Mikey, Jim’s father.
How she had been nervous of his certainty in the very start, how he was so sure she was the one for him and she feared it was a decision too quickly made.
She wrote on and on about Jim’s birth and how proud she was of him and her hope that he might be like his father before him and find the right one before she died.
Cara didn’t know what time it was. She looked out the window. The moon seemed high in the dark sky.
The orchard looked beautiful with the old trees casting curled shadows.
The old donkey was asleep, standing up with his head on the gate. Cara had read how Maria had rescued him from people who had been ill-treating him when he was just a foal or whatever you call a young donkey. He had never done any work, just given the children rides on his back for years.
Down in the farmyard the hens and geese were clucking con­tentedly behind the mesh doors that kept the beautiful red fox away from them.
Cara could not understand now why she had feared this place. It was very like home already . . .
She blessed her future father-in-law for giving her the diary. She wished she had met Jim earlier and she would have known her soon-to-be mother-in-law.
Yes, of course she would marry Jim.
She remembered counting the hours after she had said good-bye to him in Dublin last week.
Now she was counting the hours until morning when she could tell him that they should see the priest while they were at it. She was going to live here—she might as well get married here.
After all, that’s what Maria had done all those years ago, and she had never known a day’s regret.

Most helpful customer reviews

32 of 32 people found the following review helpful.
Glad that I bought this
By Newly living in USA
I agree with the reviewer who wrote "It's Maeve Binchy." Not my absolute favorite volume of Binchy's, but, sadly, there probably won't be any more. I was interested by how she was experimenting with situations/characters that later appeared in her novels, like men who needed clothes rails or who weren't the sharpest knife in the drawer but still had good qualities and were "restful" to be around. Not at all a waste of money, in my opinion, but then I'm a hard-core Binchy fan.

1 of 1 people found the following review helpful.
Delightful, Surprising, A New Side of Binchy as an Author!
By New Jersey Mama
There's something about a Maeve Binchy book that I love. It's a comfort thing, perhaps - the kind of book you turn to when you need an escape from the world and you just want a warm bath of a story to calm you and help you refocus. I was delighted and surprised by "A Few of the Girls." After years of reading the formulaic (and pleasing) Binchy, I got to see an entirely different side of the writer. She experimented with so many different types of voices and story lines. And each story brought out a different side of this author that really highlighted just how special and creative she was. Understand that this is not the typical Binchy of days of old - but it is terrific creative writing that you're sure to enjoy. I highly recommend this to lovers of short stories - and of course, Maeve Binchy fans! I hope there are more of these to come in the future.

2 of 2 people found the following review helpful.
A Collection of Short Stories
By 41spots
I guess I didn't read the description of this book very well. I like Binchy usually but this was all short stories and just as one was developing into an interesting tale it was over. I quit reading about half way through as I was tired of the same type of tales over and over with no real "meat" tothem.

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Noise Reduction by Wavelet Thresholding (Lecture Notes in Statistics), by Maarten Jansen

Wavelet methods have become a widely spread tool in signal and image process­ ing tasks. This book deals with statistical applications, especially wavelet based smoothing. The methods described in this text are examples of non-linear and non­ parametric curve fitting. The book aims to contribute to the field both among statis­ ticians and in the application oriented world (including but not limited to signals and images). Although it also contains extensive analyses of some existing methods, it has no intention whatsoever to be a complete overview of the field: the text would show too much bias towards my own algorithms. I rather present new material and own insights in the questions involved with wavelet based noise reduction. On the other hand, the presented material does cover a whole range of methodologies, and in that sense, the book may serve as an introduction into the domain of wavelet smoothing. Throughout the text, three main properties show up ever again: sparsity, locality and multiresolution. Nearly all wavelet based methods exploit at least one of these properties in some or the other way. These notes present research results of the Belgian Programme on Interuniver­ sity Poles of Attraction, initiated by the Belgian State, Prime Minister's Office for Science, Technology and Culture. The scientific responsibility rests with me. My research was financed by a grant (1995 - 1999) from the Flemish Institute for the Promotion of Scientific and Technological Research in the Industry (IWT).

  • Sales Rank: #5976675 in Books
  • Published on: 2008-06-13
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.25" h x .51" w x 6.10" l, .70 pounds
  • Binding: Paperback
  • 196 pages

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Jumat, 14 Februari 2014

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A Time to Die (Victor the Assassin), by Tom Wood

IT'S NOT HOW LONG YOU'LL LIVE . . . Now that professional assassin Victor is indentured to British Intelligence, he is tasked with eliminating the worst of the worst. One such man is Milan Rados, a former Serbian paramilitary commander wanted for war crimes and now head of an organized criminal network in Belgrade. He has escaped justice once already, so it's Victor's job to take the justice to him. IT'S HOW SOON THEY'LL DIE. Victor might be the best in the business, but with powerful friends and an entire crew to protect him, Rados is a hard man to corner and even harder to kill. To get close to his target, Victor will need more than his deadly skills. An unlikely ally can provide him with the edge he seeks, but there's a price on Victor's head-and a killer who won't quit knows just how to find him . . . PRAISE FOR TOM WOOD AND HIS THRILLERS "Makes James Bond look like a wannabe." -BRAD TAYLOR, New York Times bestselling author of the Pike Logan series "The new master of the dark, intricately plotted chase thriller." -The Australian "A truly great read featuring an unforgettable character . . . this is a thriller to the nth degree." -Suspense Magazine

  • Published on: 2016-08-02
  • Released on: 2016-08-02
  • Formats: Audiobook, CD, Unabridged
  • Original language: English
  • Number of items: 1
  • Dimensions: 5.30" h x 1.10" w x 6.40" l,
  • Running time: 11 Hours
  • Binding: Audio CD

Review
Praise for Tom Wood’s Thrillers

“Victor is a thrilling anti-hero.”—Pierre Morel, director of Taken

“Tactical accuracy, globetrotting locales, and plenty of twists to keep you guessing to the last page....Makes James Bond look like a wannabe.”—Brad Taylor, New York Times Bestselling Author of The Insider Threat

“A truly great read featuring an unforgettable character...this is a thriller to the Nth degree.”—Suspense Magazine 

About the Author
Tom Wood was born in Burton Upon Trent in Staffordshire, England, and now lives in London. He has worked in a range of jobs and now writes full-time. He is the author of the Victor the Assassin series. Visit Tom at tomwoodbooks.com.

Rob Shapiro is a voice-over artist, musician, and composer who got his professional start with the Children's Theatre Company & School of Minneapolis.

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6 of 6 people found the following review helpful.
The most compelling antihero since a serial killer with a taste for liver, fava beans, and Chianti
By B. Leu
I've been following the Victor the Assassin series from the first book and while I've enjoyed it immensely, I'm still at a bit of a loss as to explain its attraction. The stories themselves, while nothing original, are well-crafted and filled with suspense and action. I won't get into the specifics of this one since other reviews have already covered that ground, but it follows the formula of previous entries: Victor is hired to kill someone and must confront brainless thugs, charming psychopaths, shady government representatives, femme fatales, deadly rivals, and heavily armed former military operatives. He must plan for every contingency, prepare for all possible outcomes, and be able to improvise at a moment's notice. The plot moves along briskly, the dialogue sounds true-to-life, and the bad guys are suitably reprehensible. You won't find fault in these areas.

No, the difficulty lies in trying to clarify the strange allure of its protagonist. Victor is only ever depicted while on the job: spending hours doing surveillance, countersurveillance, studying his target, acquiring tools and weapons, plotting escape routes, sizing up opponents' strengths and weaknesses, ad infinitum. Unlike Lawrence Block's hitman Keller, who devotes his free time to collecting stamps, Victor is always in "assassin mode," so to speak. We don't know if he has any hobbies, if he enjoys fine art or classical music or noveau cuisine, or pretty much anything of substance that would add more dimension to his character. He is analogous to the Terminator, a killing machine that is continuously scanning the world around him with ruthless efficiency. He talks in a flat, even tone most of the time and the only emotions he seems to express are miniscule degrees of surprise and irritation. If it weren't for his very human dislike of cursing and littering, he might as well be a robot.

And yet Victor is a fascinating creation. We watch as he goes about his assignments and marvel over how thorough and professional he is. He manipulates everything he possibly can to his advantage and even on those rare occasions when circumstances go sideways, he is able to meet the challenge through an enviable mix of physical prowess and cognitive dexterity. Like the Hollywood version of Jason Bourne, Victor can assess a situation in the seeming blink of an eye and fashion an appropriate response. A lethal killer who never stops thinking - could there be a more potent combination?

Despite my respect for his abilities, however, I cannot say that I've ever found Victor 'likable' in the traditional sense of the word. Make no mistake: he is a sociopath, with little to no empathy for anyone. Granted, the people in his world are typically scheming low-lifes but even innocents are often met with callous indifference. As he tells one young woman, a victim of human-trafficking with whom he has struck a deal and who is considering breaking their agreement by delivering him to the men who are keeping her captive, "It's really not smart to threaten me...do not make yourself the kind of problem I don't need. I'm the worst enemy you could have." Whereas Dexter Morgan could be affable and wry and even appealing in spite of the horrible things he does, Victor is largely taciturn and off-putting; any humor he indulges in is sarcastic and deadpan, more suited for the gallows. As a result, there is almost nothing about him that I can feel a kinship with. I'm as emotionally detached from Victor as he is from the people he meets, and the only other character with whom I've felt a similar disconnect is Hannibal Lecter. Victor is like a crocodile gliding below the water's surface, a cold-blooded reptile disguising himself as a harmless piece of driftwood until he gets close enough to strike. But he is mesmerizing every step of the way, which is why the stories work so well.

This series is highly recommended for suspense/thriller fans but don't expect to get the warm and fuzzies while reading. More likely, it will feel like someone just walked across your grave.

5 of 5 people found the following review helpful.
Tom wood special
By Jason Hannon
Another Victor assassin story, another tale of what can go right and what can go wrong when you do anything. What makes the book work is that there is no good guys but everyone is shades of grey even the victims. People die when they get in the way of Victor intentionally or not. Got to say well done and thoroughly enjoyed story and fact that Victor is a character that can adapt but still tries to be who he is good or bad. Most stories fall because the author tries go in directions that don't work or make sense. Really good book worth the money, will buy next one on this ones merit.

1 of 1 people found the following review helpful.
Great Victor novel
By James Lane
I've liked all of the Victor series, and this is one of the best. Victor is trying to complete a contract whiile at the same time keep a step ahead of others that wish him dead. To be sure, that's the basic plot of all his adventures, but this one has some neat twists, and as usual the writing is economical and keeps things moving at a cracking pace. Backgound story of sex-trafficing is pretty harrowing.

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Kamis, 13 Februari 2014

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Radhika's Story: Surviving Human Trafficking, by Joanna Lumley, Sharon Hendry

–An incredible story of triumph over evil in the modern world. –A moving account of what a mother’s love for her child can achieve even when the odds are stacked against them both.

–A horrifying first-hand account of a survivor of human trafficking in the 21st-century.

–A portrayal of the illegal and sordid underworld of trafficking in human organs. Radhika’s Story.

 


A seemingly innocent sip of Coca-Cola, drunk by a starving and desperately thirsty 16-year-old girl led to the first of Radhika Phuyal’s human trafficking experiences. Drugged, Radhika woke up hours later, in great pain, only to discover that her kidney had been removed and sold to the highest bidder. Radhika was married by force but tried to make the best of her situation. She had a much-loved son, but Rohan’s birth signified the next harrowing episode in Radhika’s life – she was trafficked again.

 

Living in India, separated from her son and forced to have sex with up to 25 men a day, Radhika refused to accept her lot. Desperate to be reunited with her child, she fought against the odds, finding the strength to escape her horrific life and rescue her son and finally find sanctuary in a refuge set up to help survivors of trafficking. Journalist Sharon Hendry tells Radhika’s horrifying but incredibly inspiring story. She also highlights the pervasive nature of human trafficking in the 21st century.

 

Proceeds from the book will go to Maiti, the charity that helped Radhika and which continues to help survivors of trafficking.

  • Sales Rank: #74117 in eBooks
  • Published on: 2011-04-21
  • Released on: 2011-04-21
  • Format: Kindle eBook

Review

“… a gut-wrenching true tale”

About the Author
Sharon Hendry is a senior feature writer at the British newspaper The Sun. In her work she has exposed international adoption rackets, tracked paedophiles in Cambodia and uncovered a plot to kill Russian dissident Berezovsky at London's Hilton Hotel.

Most helpful customer reviews

22 of 22 people found the following review helpful.
Raising awareness
By M. LeB
I enjoyed reading about Radhika and Rohan, her son, very much. The story behind this brave girl is tragic and sad, but the story is well written, with compassion. Thanks to this book, I now have more awareness of women trafficking in Nepal and India and I am currently supporting the organization that houses Radhika and Rohan.

16 of 16 people found the following review helpful.
Radhik's Story
By JM
While I was reading this book I had to keep reminging myself this just happened a few years ago not 20! TO hear all that this woman endured is unbelieveable! Then to come home by the help of a stranger only to have her family shun her, I wept! I would love to hear how she is doing now....my prayers go to her and her son that she finds someone and finds happiness! Great story, couldn't put this book down!

14 of 14 people found the following review helpful.
Weak writing, but breathtaking story
By lasdal
Radhika's story is one that no one should ever have to endure. And yet, somehow, unbelievably, both she and her son not only endured it, Radhika also found the strength to tell her story.

The writing of this novel is not particularly strong. The book is as captivating as it is (and received as high a mark from me as it did) because of the subject matter, not the way in which it is written. I think it could have benefited from some tougher editing and stronger storytelling skills. That said, I highly recommend this book, if only because it helps bring to light an important topic: the ongoing suppression and abuse of women across the globe. I commend the authors for the support they've given to such a noble cause. It has encouraged me to donate to Maiti Nepal and other centres for victims of human enslavement.

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Rabu, 12 Februari 2014

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Art History and Its Methods, by Eric Fernie

Approaches to the history of art are probably more varied - and more debated - than in any other branch of history, and a study of different historical approaches is becoming an increasingly important component of many academic courses. This anthology of art-historical writings from the Renaissance to the present day has a particular focus, for key texts have been chosen in which the authors themselves reflects on the nature of their subject and on their own methods of inquiry. Included are texts by Vasari, Winckelmann, Burckhardt, Wolfflin, Panofsky, Gombrich and Pollock, among others. The introduction gives a summary of art-historical methods, and each of the texts is accompanied by a brief commentary which places it in context and discusses the issues it raises. Also provided is a critical glossary of art-historical terms, a brief biography of each of the historians, and a select bibliography.

  • Sales Rank: #549895 in Books
  • Brand: Brand: Phaidon
  • Published on: 1995-07-09
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.25" h x 1.00" w x 6.13" l, 1.75 pounds
  • Binding: Paperback
  • 384 pages
Features
  • Used Book in Good Condition

From Library Journal
Critical essays culled from the writings of 27 significant art historians and writers comprise this scholarly collection. Fernie, the director of the Courtauld Institute of Art at the University of London, promises to provide a "view of the methods which art historians have found appropriate or productive in studying the objects and ideas which constitute their discipline." The chronologically arranged excerpts begin with Renaissance writer Giorgio Vasari's biographical approach and include Goethe's praise of Gothic style, Jacob Burckhardt's historical observations, Johann Joachim Winckelmann's reflections on the cultural context of art, Giovanni Morelli's study of attribution, Roger Fry's analysis of form, Erwin Panofsky's discussion of humanism, and Griselda Pollock's present-day feminist analysis. Fernie's introductory overview of approaches to art history, his insightful comments preceding each essay, and a helpful glossary provide a substantial framework for the erudite writings. Recommended for academic collections.?Joan Levin, MLS, Chicago
Copyright 1995 Reed Business Information, Inc.

Review
'A book destined to become a standard work.' (The Art Newspaper)

From the Back Cover
Approaches to the history of art are probably more varied and more debated than in any other branch of history, and a study of different historical approaches has become an important component of student courses.

Most helpful customer reviews

22 of 22 people found the following review helpful.
A great idea, but a disappointing book
By Anne-Marie Bouche
I bought this book because I wanted an anthology of "the best," classic articles on a variety of fields and from a variety of critical viewpoints, hoping to use it for my introductory art history course. But not only could one quarrel with the choices here, but the articles are abridged almost to the point of incomprehensibility and the footnotes are left out. This makes the collection unrepresentative of what it purports to be about, and useless in the classroom.

12 of 13 people found the following review helpful.
A review of "Art History and its Methods"
By carrie
Includes:

Giorgio Vasari, the lives of the artists, 1568,

Karel van Mander, Dutch and Flemish Painters, 1604,

Giovanni Bellori,the idea of the painter, the sculptor and the architect chosen from the higher natural beauties of nature, 1672,

Johann Winckelmann, history of ancient art, 1764,

Johann Wolfgang von Goethe, Von deutscher Baukunst, 1772,

Jakob Burckhardt, reflections on history, 1872,

Giovanni Morelli, Italian painters, 1880,

Alois Tiegi: late Roman art industry, 1901,

Heinrich Wolfflin, principles of art history, 1915,

Paul Franki, principles of architectural history, 1914,

Roger Fry, reflections, 1920,

Henri Focillon, the world of forms, 1934,

Alfred H. Baff, chart of modern art, 1936,

Erwin Panofshky, the history of art as a humanistic discipline, 1940,

Nikolaus Pevsner, an outline of European architecture, 1943,

Arnold Hauser, the scope a limitations of sociology of art, 1959,

Susan Sontag, against interpretation, 1964,

E.H. Gombrich, in search of cultural history, 1967,

William Fagg, studying primitive art, 1973,

T.J. Clark, the conditions of artistic creation, 1974,

John Onians, art history, Kinstegschichte and historia, 1978,

Michael Baldwin, Charles Harrison and Mel Ramsden, art history, art criticism and explanation, 1981, Svetlana Alpers, interpretation without representation, or the viewing of Las Meninas, 1983,

Hans Belting, the end of the history of art?, 1984,

Griselda Pollock, Feminist interventions in the history of Art, 1988.

Olu Oguibe, in the heart of darkness, 1993

It is an excellent anthology, but it lacks colour plate images. Since it is a book about methods in art historical practice, the focus is much more directed to looking at texts. Yet, there are a few black and white images printed in the book that provide examples of the works being discussed. However, I would forfeit my desire for colour plates in light of the affordable price (appx. $30 for almost 400 pages of quality reading) and its promise for longevity for being an oft-consulted book for a serious art historian. I am not sure why Fernie decided to omit the footnotes of the original essays, which makes this only a lead-in to the original texts. I would also like to see Fernie add more contemporary essays with subsequent editions, as the latest date of the essays included is 1993 (recent only in light of the 1995 publication date).

The theories shaping the widely varied practices of of art history are highly contested, often misunderstood, and a `hot topic' in many schools of academia. Eric Fernie has collected some of the most interesting writing, from the Renaissance to the contemporary, about methodology in the practice of art history, introducing each of the essays with a brief summary of its contents. Fernie's considerable ability to summarize and contextualize key points of dense texts in a thoughtful and accessible way makes the reader look forward to diving into this carefully laid out anthology of 27 classic texts about methodology in the arts (like Heinrich Wolfflin's 1915 "Principles of Art History" or Giorgio Vasari's 1568 "The Painter's Book"). Also included in this book is a useful and critical glossary of terms, written by Fernie. Demonstrating the wide variety of approaches taken by serious scholars over the ages, Fernie illuminates the rhizomatic way in which the discourse of art historical practice has unfolded over time, sometimes following an evoluting line of developing thought, but sometimes showing how relatively `new' ideas appear and disappear into the folds of culture's eternal mutation.

Fernie is likely trying to reach academic readers instead of a popular audience, but more specifically, he is likely trying to reach post-undergraduate-level academics. This idea rests on the observation that the content of the essays are quite serious, as well as being of the kind of historical overview that nonacademic, and even many undergrad students, in my opinion, might find difficult to put into perspective unless they have a solid background in both cultural and art history. This book is definitely not for everyone. Those seriously interested in art history, criticism, theory, the history of ideas, or research methodology would find this book most interesting. People who are looking for juicy images, coffee table classics, or simplified interpretations of classic art need not open this book, unless they want to challenge their understanding of how history, methods of enquiry, and the subjectivity of the self inform higher-level understanding of art and art history.

2 of 3 people found the following review helpful.
A *Critical* Anthology
By A Customer
Fernie's book is indeed a little gem, a compilation of most of the major players and critical thinkers that shaped the discipline of Art History as we know it today. The format is user-friendly, with an excellent table of contents, select bibliography, and index. The glossary in the back provides definitions that are indispensable for beginners and masters alike. His intros are succinct; they provide a historical context, and distill most of the main points of each reading into a short, interesting, and easy to digest summary.
The selected texts provide the reader with a good definition of some of the historical and contemporary differences between different schools of Art History and Art Criticism. The methods provided in this book are applicable to any humanistic discipline. While not totally comprehensive, the material presented does give an excellent starting point for further excursions into art historical methodology.
That said, Fernie does allow some of his own biases and methodologies to colour some of his introductions, and the selections of representative texts. The critical thinking of his readers needs to be applied to these aspects of the book, as much as the texts presented. However, all in all this is an excellent "History of Art History". I reccomend this book highly to "students" (of any kind) interested in a higher understanding of art, art criticism, and historiography.

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Selasa, 11 Februari 2014

[R106.Ebook] Download PDF Heritage Masonry: Materials and Structures, by S. Syngellakis

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Masonry is a traditional, highly durable mode of construction; many heritage masonry structures, built at various historical periods, have survived, to a lesser or greater extent, adverse environmental conditions, which have reduced, sometimes considerably, their integrity, strength and durability. Due to the cultural significance of heritage architecture, resources are today allocated towards their restoration and conservation. Topics covered include: Understanding of constituent materials, modes of construction and overall mechanical behaviour; Dynamic behaviour; Sonic pulse velocity tests; Micro-vibration measurements; Failure mechanisms; Structural strength assessment; Binding material mixtures; Composition and properties of ancient mortars; Contemporary repair material; Infra-red thermography measurements; Mortars, plasters, renders and grouts. The various issues mentioned above are addressed by the present collection of scientific papers with considerable insight and thoroughness. It is thus hoped that this volume will fill a gap in the literature as a valuable source of information and guidance to researchers and engineers working in the area of restoration and conservation of heritage masonry structures.

  • Sales Rank: #4694484 in Books
  • Published on: 2013-10-02
  • Original language: English
  • Dimensions: 9.25" h x 6.25" w x .55" l, 1.00 pounds
  • Binding: Hardcover
  • 192 pages

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Rabu, 05 Februari 2014

[Q500.Ebook] Get Free Ebook Three Gothic Novels: The Castle of Otranto; Vathek; Frankenstein, by Horace Walpole, William Beckford, Mary Shelley

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Three Gothic Novels: The Castle of Otranto; Vathek; Frankenstein, by Horace Walpole, William Beckford, Mary Shelley

Walpole's The Castle of Otranto, Beckford's Vathek, and Shelley's Frankenstein

The Gothic novel, which flourished from about 1765 until 1825, revels in the horrible and the supernatural, in suspense and exotic settings. This volume, with its erudite introduction by Mario Praz, presents three of the most celebrated Gothic novels: The Castle of Otranto, published pseudonymously in 1765, is one of the first of the genre and the most truly Gothic of the three. Vathek (1786), an oriental tale by an eccentric millionaire, exotically combines Gothic romanticism with the vivacity of The Arabian Nights and is a narrative tour de force. The story of Frankenstein (1818) and the monster he created is as spine-chilling today as it ever was; as in all Gothic novels, horror is the keynote.

For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

  • Sales Rank: #307679 in Books
  • Brand: Fairclough, Peter
  • Published on: 1968-12-30
  • Released on: 1968-12-30
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.72" h x .88" w x 5.04" l, .77 pounds
  • Binding: Paperback
  • 512 pages

From the Back Cover
One of the most interesting phenomena in the history of literature, the Gothic novel—which flourished from about 1765 to 1825—still has much to offer to the modern reader. Supernatural thrills, adventure and suspense, colorful settings, and, in the better examples, literary quality are all present. Unfortunately, true Gothic novels (not simply modern detective stories called "Gothic") are extremely rare books, and have never been as available as they should be.The first member in this collection, Horace Walpole's TheCastle of Otranto, published as a Christmas book for 1764, was the first and one of the greatest members of the genre. It has also been one of the most influential books in history. It motivated the Gothic revival in the arts, and it probably did more to usher in the early-19th-century Romanticism than any other single work. It also served as the model in plot, characterizations, settings, and tone for  hundreds, perhaps thousands of successors.Vathek, by the eccentric British millionaire William Beckford, is generally considered to be the high point of the Oriental tale in English literature. Certainly no one has ever written (in any European tongue) a story which better unifies the stirrings of Gothic romanticism with the color, poetry, and vivacity of the original Arabian Nights.The third novel in this collection, John Polidor's Vampyre, emerged from the same soirées of ghost-story telling in Geneva that produced Mary Shelley's Frankenstein. The first full-length vampire story in English, it initiated a very important literary chain that also leads up to the present. Included with Polidori's novel is Lord Byron's little-known Fragment, from which Polidori (who was Byron's physician in Switzerland) plagiarized his plot.These three novels (and the fragment) are still well worth reading. Generations of readers have found thrills and horrors in Walpole's fine work, while Vathek cannot be excelled in its unusual mixture of the bizarre, cruel irony, and masterful narration. Polidori's thriller still conveys chills, and the Fragment makes us all wish that Byron had completed his novel.
Unabridged republication of all four texts: second edition (with prefaces) of The Castle of Otranto, and Sir Walter Scott's Introduction; Vathek in Samuel Henley's translation, with full notes; first edition of The Vampyre, with the introductory section; Byron's Fragment. Edited and introduced by E. F. Bleiler.

About the Author
Mario Praz (1896-1982) was Professor of English Language and Literature at the University of Rome. The most celebrated of his many other books is The Romantic Agony.

Most helpful customer reviews

32 of 34 people found the following review helpful.
Early Gothic Novels by Walpole, Beckford, and Polidori
By Michael Wischmeyer
I was new to the Gothic genre when I first encountered this Dover publication some years ago. At that time I considered the plot for The Castle of Otranto (1764) by Horace Walpole to be farfetched, almost ludicrous. The mystical Oriental tale, Vathek (1782), by William Beckford seemed endless. Only the short story titled The Vampyre (1819, by John Polidori) met my expectations.

My opinion today is quite different. I have gradually become familiar with Gothic literature, and I now appreciate just how innovative these three stories were, and to how great an extent these tales influenced later writers. I give four stars to this collection.

The eighteenth century was clearly a period of philosophical and scientific progress. And yet, many readers were immediately intrigued and entertained by the supernatural, bizarre elements in The Castle of Otranto. Hundreds of authors subsequently imitated Walpole's Gothic style. Although many of these later stories had little literary merit, the Gothic novel remained immensely popular for the following century.

Today, it is true that the supernatural aspects in The Castle of Otranto may be overworked, the dialogue is often stilted, and the plot relies too much on coincidences. Nonetheless, The Castle of Otranto remains quite entertaining and suspenseful. The lengthy introduction by Sir Walter Scott (included in the 1811 edition) illustrates the remarkable impact of "this new species of literary composition".

William Beckford's Vathek is so original that it hardly fits even the Gothic genre. Beckford, a noted scholar of early Arabian literature, provided more than fifty pages of explanatory end notes. For some reason he first published Vathek in French. Later it was translated and published in English without his approval. I still find Vathek to be overly long, but this time I was intrigued with its mystical Arabian Nights motif, its chilling characters, and its vivid portrayal of evil.

In an introduction to The Vampyre the author John Polidori claimed (possibly to increase sales) that Lord Byron had created the plot at the same literary soiree in Geneva in which Mary Shelley produced Frankenstein. Lord Byron disputed Polidori's claim and produced his own notes from that famous gathering. Regardless, The Vampyre is fascinating short story.

E. F. Bleiler edited this collection and provided a lengthy, interesting introduction to three authors that were instrumental in developing the Gothic novel.

29 of 32 people found the following review helpful.
A great primer for those interested in early Gothic fiction
By Shanna Flaschka
This is a fabulous collection representing the beginning of Gothic fiction. Otronto is the very first such work, and is a perfect illustration of the basic themes and plotlines predominant in Gothic. Although not the most polished work of fiction, it's often so bad it's funny, and definitely worth reading. The other stories are much more professional, albeit a bit drier reading. I'm especially fond of Vathek, as it more clearly represents fear fiction as it was to become. Dr. Polidori's piece is particularly intersting as he was a physician and present at the famous ghost-story-telling session(s) of Byron and the Shelley couple.
On the whole, this collection is the ideal glimpse into the genre at its rudimentary level.

31 of 35 people found the following review helpful.
Gothick Terror, Oriental Decadence, Romantic Vampyres...
By A Customer
This volume is an excellent introduction to four
works of the Gothic mindset, which hit England at
the end of the 1700s and lasted on into the early
Romantic period, all the way up to the late decadence
of the 1890s, winding up in Robert Louis Stevenson's
THE STRANGE CASE OF DR. JEKYLL AND MR. HYDE (1886),
Oscar Wilde's THE PICTURE OF DORIAN GRAY (1891), and
Bram Stoker's DRACULA (1897).
These are four of the earliest of this Gothic genre.
The volume includes Horace Walpole's THE CASTLE OF
OTRANTO (Christmas Eve, 1764); William Beckford's
VATHEK (1786); John Polidori's VAMPYRE (1819); and
a Vampire Fragment by Lord Byron (1819), "which was
published at the end of MAZEPPA in 1819."
The list of Gothic NOVELS (rather than stories)
in chronological order which make the grade are:
Horace Walpole's CASTLE OF OTRANTO (1764), Clara
Reeve's THE CHAMPION OF VIRTUE (1777), William
Beckford's VATHEK (1786), Ann Radcliffe's THE
MYSTERIES OF UDOLPHO (1794), Matthew Gregory Lewis's
THE MONK (1795), Mary Shelley's FRANKENSTEIN (1818),
John Polidori's VAMPYRE (1819), Charles R. Maturin's
MELMOTH THE WANDERER (1820).
There are excellent introductions to each of the
writers and their works at the beginning of the book.
In speaking of THE CASTLE OF OTRANTO, Bleiler says:
"This novel has been called one of the half-dozen
historically most important novels in English. The
founder of a school of fiction, the so-called Gothic
novel, it served as the direct model for an enormous
quantity of novels written up through the first
quarter of the 19th century.... It was probably
the most important source for enthusiasm for the
Middle Ages that suddenly swept Europe in the later
18th century, and many of the trappings of the early
19th century Romantic movement have been traced to
it. It embodied the spirit of an age."
There is included a series of impressive "Notes"
to the novel VATHEK: An Arabian Tale. The novel
begins in an interesting fashion: "Vathek, ninth
caliph of the race of the Abassides, was the son
of Motassem, and the grandson of Haroun al Raschid.
From an early accession to the throne, and the talents
he possessed to adorn it, his subjects were induced to
expect that his reign would be long and happy. His
figure was pleasing and majestic: but when he was
angry, one of his eyes became so terrible, that no
person could bear to behold it; and the wretch upon
whom it was fixed instantly fell backward, and
sometimes expired. For fear, however, of depopulating
his dominions and making his palace desolate, he but
rarely gave way to his anger."
And here is a sample bite from John Polidori's
VAMPYRE: "There was no colour upon her cheek, not
even upon her lip; yet there was a stillness about
her face that seemed almost as attaching as the life
that once dwelt there: --upon her neck and breast
was blood, and upon her throat were the marks of teeth
having opened the vein: -- to this the men pointed,
crying, simultaneously struck with horror, "A
Vampyre! a Vampyre!"

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Three Gothic Novels: The Castle of Otranto; Vathek; Frankenstein, by Horace Walpole, William Beckford, Mary Shelley PDF
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