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Satire and the fantastic, vital literary genres in the 1920s, are often thought to have fallen victim to the official adoption of socialist realism. Eric Laursen contends that these subversive genres did not just vanish or move underground. Instead, key strategies of each survive to sustain the villain of socialist realism. Laursen argues that the judgment of satire and the hesitation associated with the fantastic produce a narrative obsession with controlling the villain’s influence. In identifying a crucial connection between the questioning, subversive literature of the 1920s and the socialist realists, Laursen produces an insightful revision of Soviet literary history.
Occult investigator Quincey Morris and his “consultant,” white witch Libby Chastain, are hired to free a family from a deadly curse that appears to date back to the Salem witch trials. Fraught with danger, the trail finds them stalking the mysterious occult underworlds of Boston, San Francisco, New Orleans and New York, searching out the root of the curse. After surviving a series of terrifying attempts on their lives, the two find themselves drawn inexorably towards Salem itself – and the very heart of darkness.
In the courtrooms of seventeenth-century Russia, the great majority of those accused of witchcraft were male, in sharp contrast to the profile of accused witches across Catholic and Protestant Europe in the same period. While European courts targeted and executed overwhelmingly female suspects, often on charges of compacting with the devil, the tsars' courts vigorously pursued men and some women accused of practicing more down-to-earth magic, using poetic spells and home-grown potions. Instead of Satanism or heresy, the primary concern in witchcraft testimony in Russia involved efforts to use magic to subvert, mitigate, or avenge the harsh conditions of patriarchy, serfdom, and social hierar...
Inside Apple reveals the secret systems, tactics and leadership strategies that allowed Steve Jobs and his company to churn out hit after hit and inspire a cult-like following for its products. If Apple is Silicon Valley's answer to Willy Wonka's Chocolate Factory, then author Adam Lashinsky provides readers with a golden ticket to step inside. In this primer on leadership and innovation, the author will introduce readers to concepts like the "DRI" (Apple's practice of assigning a Directly Responsible Individual to every task) and the Top 100 (an annual ritual in which 100 up-and-coming executives are tapped a la Skull & Bones for a secret retreat with company founder Steve Jobs). Based on n...
It's the end of the 21st century where technocrats rule and robots take care of humans’ every need. Your house watches you, knows your secrets, and talks to you. And your closest friend can be—a machine? Gavin Bell and his teenage sister Fleur come from a middle-class family. Their much-loved, old-fashioned robot, Grumps, is running down and can’t be repaired, so a scientist friend loans them EGR3, an experimental new robot to help Grumps. EGR3, known as Eager, learns from his experiences, as a child would. He feels emotions—wonder, excitement, and loss. When the ultra high-tech, eerily human BDC4 robots begin to behave suspiciously, Eager and the Bells are drawn into a great adventure that is sometimes dark and often humorous. As Eager’s extraordinary abilities are tested to the limit, he will try to find the answer to this question: What does it mean to be alive?
Experience and relive The Hole, it is a true inspiring story in which a young man desperately struggled to overcome The Hole. To him the streets of Baltimore city was The Hole, it was a place that had bind and consumed his life, it gave some but took more. Surviving in the streets he had to watch as the drug game sucked many of his friends and family down into its dark abyss like the black hole it truly was. Finally realizing after years of tribulation and lost, he came to find that the key to his redemption lay in a form least expected.
Crime and Punishment: A Reader’s Guide focuses on narrative strategy, psychology, and ideology. Martinsen demonstrates how Dostoevsky first plunges the reader into Raskolnikov’s fevered brain, creating sympathy for him, and she explains why most readers root for him to get away from the scene of the crime. Dostoevsky subsequently provides outsider perspectives on Raskolnikov’s thinking, effecting a conversion in reader sympathy. By examining the multiple justifications for murder Raskolnikov gives as he confesses to Sonya, Dostoevsky debunks rationality-based theories. Finally, the question of why Raskolnikov and others, including the reader, focus on the murder of the pawnbroker and forget the unintended murder of Lizaveta reveals a narrative strategy based on shame and guilt.