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Avipsa is a twenty-year-old college student. Reyansh is an engineer whose life is drowned in the darkness.Their paths have just crossed ushering him to a new journey and taking Avipsa to a roller coaster ride of unforeseeable incidents.The unavoidable era of darkness and unknowns are knocking at her door.her life has just taken some drastic turn. Which started as some discrete incidents,are now dragging her towards the tunnel of unpredictable twists and turns..something gonna happen..VERY SOON
When death is that close, will your heart skip a beat? Two patients are admitted to room no. 509. One is a brilliant nineteen-year-old medical student, suffering from an incurable, fatal disease. She counts every extra breath as a blessing. The other is a twenty-five-year-old drug addict whose organs are slowly giving up. He can’t wait to get rid of his body. To him, the sooner the better. Two reputed doctors, fighting their own demons from the past, are trying everything to keep these two patients alive, even putting their medical licences at risk. These last days in the hospital change the two patients, their doctors and all the other people around them in ways they had never imagined. Till the Last Breath is a deeply sensitive story that reminds us what it means to be alive.
Susan Wright walked into a doctor’s surgery and gunned down two members of staff in cold blood, then waited for the police to arrest her. Later that day a lawyer, Beth Powell, is assigned to defend her. Susan won’t talk to anyone, even to Beth – until both women realise that twenty-nine years earlier they had been childhood friends. Talking about their troubled families and those happy summers they spent together as children rekindles Susan and Beth’s friendship. And as the evidence against Susan mounts up, both women share their traumatic secrets about what sent them down such different paths in life. Their friendship grows stronger, but for one of them, there can be no happy ending ...
Eve dared. . . Eve, with passion that overruled her total innocence, ran away from home to live in unrepentant sin; won stardom singing on the stage of the Parisian music halls before Worlds War I; married into the world of international diplomacy; and become the greatest lady Champagne. Eve's younger daughter, Freddy, inherited all of her mother's recklessness. Growing up in California, she became a pilot by sixteen; throughout World War II she ferried war planes in Britain--a glorious redhead who captured men with one humorous, challenging glance. Eve's elder daughter, Delphine, exquisite, gifted, and wild, romped through the nightlife of Hollywood of the thirties. On a whim, she made a screen test in Paris and soon found herself a great star of French films. She chose to risk her life in occupied France because of a love that transformed her frivolity into courage.
The award-winning “radically original” (The Atlantic) restorative justice leader, whose work the Washington Post has called “totally sensible and totally revolutionary,” grapples with the problem of violent crime in the movement for prison abolition A National Book Foundation Literature for Justice honoree A Kirkus “Best Book of 2019 to Fight Racism and Xenophobia” Winner of the National Association of Community and Restorative Justice Journalism Award Finalist for the Goddard Riverside Stephan Russo Book Prize for Social Justice In a book Democracy Now! calls a “complete overhaul of the way we’ve been taught to think about crime, punishment, and justice,” Danielle Sered, the executive director of Common Justice and renowned expert on violence, offers pragmatic solutions that take the place of prison, meeting the needs of survivors and creating pathways for people who have committed violence to repair harm. Critically, Sered argues that reckoning is owed not only on the part of individuals who have caused violence, but also by our nation for its overreliance on incarceration to produce safety—at a great cost to communities, survivors, racial equity, and the very fabric of our democracy. Although over half the people incarcerated in America today have committed violent offenses, the focus of reformers has been almost entirely on nonviolent and drug offenses. Called “innovative” and “truly remarkable” by The Atlantic and “a top-notch entry into the burgeoning incarceration debate” by Kirkus Reviews, Sered’s Until We Reckon argues with searing force and clarity that our communities are safer the less we rely on prisons and jails as a solution for wrongdoing. Sered asks us to reconsider the purposes of incarceration and argues persuasively that the needs of survivors of violent crime are better met by asking people who commit violence to accept responsibility for their actions and make amends in ways that are meaningful to those they have hurt—none of which happens in the context of a criminal trial or a prison sentence.
____________________ The authorised history of the Bank of England by the bestselling David Kynaston, 'the most entertaining historian alive' (Spectator). 'Kynaston's aim is to provide a history of the Bank for the general reader and in this he triumphantly succeeds, providing a worthy complement to the notable series of books on different periods of the Bank's history ... wonderfully readable' Financial Times 'Not an ordinary bank, but a great engine of state,' Adam Smith declared of the Bank of England as long ago as 1776. The Bank is now over 320 years old, and throughout almost all that time it has been central to British history. Yet to most people, despite its increasingly high profile, its history is largely unknown. Till Time's Last Sand by David Kynaston is the first authoritative and accessible single-volume history of the Bank of England, opening with the Bank's founding in 1694 in the midst of the English financial revolution and closing in 2013 with Mark Carney succeeding Mervyn King as Governor. This is a history that fully addresses the important debates over the years about the Bank's purpose and modes of operation and that covers such aspects as monetary and exchange-rate policies and relations with government, the City and other central banks. Yet this is also a narrative that does full justice to the leading episodes and characters of the Bank, while taking care to evoke a real sense of the place itself, with its often distinctively domestic side. Deploying an array of piquant and revealing material from the Bank's rich archives, Till Time's Last Sand is a multi-layered and insightful portrait of one of our most important national institutions, from one of our leading historians. ____________________ 'The Old Lady of Threadneedle Street has been waiting for a biographer who could do justice to the richness of her story ... This is the work of a scholar with a gift for illuminating every square inch of each enormous canvas he chooses to paint ... Kynaston brings characters large and small to life' Literary Review 'full of human detail ... an exemplary narrative history, with the archives plundered judiciously and plenty of focus on people and their quirks ... rendered on an entertainingly human scale' The Times 'A triumph ... this portrait of the Bank of England really is fascinating, at times even gripping' Sunday Telegraph
NEW YORK TIMES BESTSELLER • Hope blooms anew for the Four Lands in this riveting conclusion, not only to the Fall of Shannara series but to the entire Shannara saga—a truly landmark event over forty years in the making! Since he first began the Shannara saga in 1977, Terry Brooks has had a clear idea of how the series should end, and now that moment is at hand. As the Four Lands reels under the Skaar invasion—spearheaded by a warlike people determined to make this land their own—our heroes must decide what they will risk to save the integrity of their home. Even as one group remains to defend the Four Lands, another is undertaking a perilous journey across the sea to the Skaar homeland, carrying with them a new piece of technology that could change the face of the world forever. And yet a third is trapped in a deadly realm from which there may be no escape. Filled with twists and turns and epic feats of derring-do—not untouched by tragedy—this is vintage Terry Brooks, and a fitting end to a saga that has gathered generations of readers into its fold.
Soviet socialism was based on paradoxes that were revealed by the peculiar experience of its collapse. To the people who lived in that system the collapse seemed both completely unexpected and completely unsurprising. At the moment of collapse it suddenly became obvious that Soviet life had always seemed simultaneously eternal and stagnating, vigorous and ailing, bleak and full of promise. Although these characteristics may appear mutually exclusive, in fact they were mutually constitutive. This book explores the paradoxes of Soviet life during the period of "late socialism" (1960s-1980s) through the eyes of the last Soviet generation. Focusing on the major transformation of the 1950s at the level of discourse, ideology, language, and ritual, Alexei Yurchak traces the emergence of multiple unanticipated meanings, communities, relations, ideals, and pursuits that this transformation subsequently enabled. His historical, anthropological, and linguistic analysis draws on rich ethnographic material from Late Socialism and the post-Soviet period. The model of Soviet socialism that emerges provides an alternative to binary accounts that describe that system as a dichotomy of official culture and unofficial culture, the state and the people, public self and private self, truth and lie--and ignore the crucial fact that, for many Soviet citizens, the fundamental values, ideals, and realities of socialism were genuinely important, although they routinely transgressed and reinterpreted the norms and rules of the socialist state.
Modern American poets writing in the face of death In Last Looks, Last Books, the eminent critic Helen Vendler examines the ways in which five great modern American poets, writing their final books, try to find a style that does justice to life and death alike. With traditional religious consolations no longer available to them, these poets must invent new ways to express the crisis of death, as well as the paradoxical coexistence of a declining body and an undiminished consciousness. In The Rock, Wallace Stevens writes simultaneous narratives of winter and spring; in Ariel, Sylvia Plath sustains melodrama in cool formality; and in Day by Day, Robert Lowell subtracts from plenitude. In Geography III, Elizabeth Bishop is both caught and freed, while James Merrill, in A Scattering of Salts, creates a series of self-portraits as he dies, representing himself by such things as a Christmas tree, human tissue on a laboratory slide, and the evening/morning star. The solution for one poet will not serve for another; each must invent a bridge from an old style to a new one. Casting a last look at life as they contemplate death, these modern writers enrich the resources of lyric poetry.