![]() But they begin to fear for the success of their scheme when the Bondsmagi of Karthain, speaking through the possessed bodies of night market vendors, threaten revenge against the duo for torturing and mutilating the Falconer. ![]() Locke and Jean have been constantly cheating at the games despite this, primarily by manipulating the subtle weaknesses of their gambling opponents, and have gone through many procedures across Tal Verrar and nearby regions to find a way to break into Requin's heavily fortified vault. The establishment, run by a man named Requin and his disfigured lover Selendri, has a policy that anyone caught cheating at the games is to be killed no matter how high-born they may be. Two years after Locke Lamora and Jean Tannen fled Camorr, they have created new secret identities for themselves in the island city of Tal Verrar as professional gamblers at an opulent casino called the Sinspire. It continues the adventures of protagonist Locke Lamora and his friend Jean Tannen as they arrive on the exotic shores of Tal Verrar, where they must face the dangers of their past, as well as new rivals that wish to stop them at all costs while they try to pull their most ambitious con yet. ![]() ![]() ![]() Red Seas Under Red Skies is a fantasy novel by American writer Scott Lynch, the second book (of a projected seven) in the Gentleman Bastard Sequence series. ![]()
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![]() ![]() ![]() Jeremy Robert Johnson ( The Loop, Entropy In Bloom) says: “ Don’t Push the Button is a beautiful, bluesy, angry, affectionate howl of a book. With his new collection, Skipp is at his disturbing, passionate, and often hilarious best, giving us his all with deeply personal and illuminating stories, screenplays, and essays. The author of The Light at the End, The Scream, The Clean Up, The Bridge (all with Craig Specter), Spore (with Cody Goodfellow), The Long Last Call, Art is the Devil, among others, Skipp’s short fiction has been featured in numerous anthologies, and is collected in The Art of Horrible People. John Skipp is legendary in the world of horror, speculative, weird, splatterpunk, and bizarro fiction. Laugh, scream … it definitely ain’t pretty, but it sure is beautiful once you let it take you all the way down. Now walk through light and dark without flinching an eye. ![]() Try to negotiate the nightmares all you want, total destruction is simply a push of the button away. ![]() Every single day, they shove it in our faces. “With his new collection, Skipp is at his disturbing, passionate, and often hilarious best, giving us his all with deeply personal and illuminating stories, screenplays, and essays.”Īll of us know horror. ![]() ![]() ![]() ![]() Fast-forward to now, and the focus is firmly on post-scarcity economics. Kornbluth in ‘The Space Merchants’ (1952). SF has a long history of being both critical about capitalism and taking the mickey out of it, as did Frederik Pohl and Cyril M. The professional publishing and review industry tends to get sniffy about Goodreads reviewers and how they write uncritical statements like ‘I loved this book!’ and ‘This book is amaze-balls!’ Well, both of these statements apply to ‘Defekt’, which packs in an incredible deal of bonhomie and joie de vivre between its covers. Every job has at least one fucking Derek-an otherwise inoffensive coworker that still somehow manages to earn your ire at every turn, because it’s easier to heap scorn on a clueless coworker than to change the system actually making your life hell. ![]() ![]() ![]() The Mezzanine crowd noise is Szalonegacie - talking people 4. Giveaway promo music: Tyops - cinematic story. Mezzanie scene music is Tyops - Dramatic Urban Beat (the pitch was changed in some cases) and TimeLift (Rhodes Pian). Emory's Apartment theme is Erokia - Piano Ambiance 6 along with ispeakwaves - mystery. Carolyn's theme is Tyops - smooth emotional sample (note: tempo was slowed slightly). Music by Tyops: Emotional Piano is the intro music, Mini Emotional Ambient is the post-intro transition music and music used in the credits. Since you read this far, here's a fun fact: You can see the original letter Emory sent James in the back of the paperback or Kindle versions of Discontents: The Disappearance of a Young Radical. Rate and review Discontents and If You Find Emory Walden on Goodreads or Amazon. Support the show with a few $ by clicking the 'support' button via the Anchor app or at Anchor.fm/JamesWallaceBirch. Get Discontents: The Disappearance of a Young Radical and If You Find Emory Walden at. This episode of the Discontents audiobook podcast takes us into Part 4 of Discontents The Disappearance of a Young Radical, covering Chapters 25 and 26. Emory wades out of amnesia and opens the door to uncertainty. Ella and Emory grow close as surgery draws near. ![]() ![]() ![]() ![]() This deeply personal exploration of the political is nothing new to Laymon, a professor of English and creative writing at the University of Mississippi, who previously published a novel, Long Division, and a collection of essays, How to Slowly Kill Yourself and Others in America. accountable for its role in creating and fueling the racial violence and toxic masculinity that shaped the struggles of both of them, making it so difficult for them to give and receive love in a trusting and trustworthy way. As he recounts this, he holds the culture of the U.S. Throughout, Laymon lays bare the many secrets mother and son kept from each other in their home: addictions, sexual violence, physical abuse, eating disorders, theft, lies and shame. Books were readily available, but his mother bounced checks at the local grocery store his home life included writing exercises and whippings in equal measure. His childhood, however, was haunted by poverty and violence. Laymon grew up in a household that nurtured his intellect and creativity. ![]() ![]() ![]() The straightforward narrative is broken up like verse (“The state vowed to put Nelson in jail/ and he went underground./ He wore different disguises/ and lived in the shadows”), clearly explaining the concept of apartheid and the efforts of Mandela and others to fight it. From a silhouette of Mandela (born Rolihlahla, which means “troublemaker”) as a boy play fighting with sticks on a country hillside to a portrait of him as a bearded young man staring out from behind prison bars, Nelson’s pictures are an immediate focal point, but also help tell the story. The wordless cover alone is arresting, as an older Mandela gazes serenely at readers (the book’s title and Nelson’s author/illustrator credit appear on the back). ![]() Nelson’s (I Have a Dream) large, luminous, and almost photographic paintings make this an extremely powerful picture-book biography of South Africa’s first black president. ![]() ![]() That's fair enough and serves as something of a counterbalance. ![]() The novel is interlarded with chapters that feature Money's "own voice." These are chapters in which the character chastises the author for getting things wrong Frank himself supplying the "truth." Reading about Frank Money is like witnessing Morrison's struggle to find something redemptive in a character to whom she has given almost insurmountable character flaws. But, here, Morrison's protagonist, named Frank Money, suffers from a post-traumatic stress that makes him unsympathetic – and he's a child killer. That none of the characters is particularly sympathetic is not, to my mind, a flaw. (Violence has become, for Morrison, what child molestation was for Nabokov: an authorial reflex, a cold fascination.) The violence that is, rightly, an aspect of her depictions of life for African Americans, has begun to feel like just another part of her thematic arsenal. Its characters are not drawn with much subtlety. ![]() It travels ground Morrison has previously travelled, without bringing new insight. ![]() ![]() The delight of the Just William stories is their light hearted fun, featuring a slightly mischievous band of characters whose pranks are mostly harmless child’s play. He would have discovered by experience whether an unrelieved diet of ices, cream buns and doughnuts could bring the satisfaction he dreamed of.” “ He would have had the opportunity of putting into practice his theories of adult life. If William had been subject to the tyranny of time like the rest of us he would “have had to finally decide between his two favourite careers – that of engine-driver and owner of a sweet-shop,” said the Richmal. Perhaps this explains why William is a character who never ages, in all the stories published between 19 he remains a carefree 11 year old. ![]() When asked to write another story about children I racked my brains to devise a fresh set of child characters, falling back again upon William and the Outlaws only from sheer lack of inventive powers.” (Richmal Crompton, Radio Times, 1945) Using as a plot an incident taken from my brother’s childhood. Her first William story was published in 1922, with no plan to make it into a further series. ![]() ![]() Richmal Crompton, creator of Just William and his bands of comrades, The Outlaws, was born in Bury Lancashire on 15 th November, 1890. " It's more fun bein' the man that comes along an' finds out all about it when the detectives have stopped tryin'. ![]() “ Let's be detectives when we grow up," suggested Douglas. ![]() ![]() ![]() ![]() In the short term we regret failures in how we acted, but in the long term we regret the times when we didn’t act . We can experience “anticipated regret” before even making a decision by worrying about what we might end up regretting as a result of the choice we make. We tend to think we want choices, but once we have them, we want someone else to decide for us. Trying to maximize all the time is a recipe for unhappiness.Ĭreating rules and “second order decisions” is a great way to limit your decision making. It makes the psychological consequences of mistakes greaterĪ maximizer tries to find the absolute best option, a satisficer finds one that’s good enough.Having more options and opportunities has three bad effects: We care more about not losing $50 than earning $100. Loss Aversion: We weigh losses as much as twice as much as gains. Our predictions about how we will feel during an experience, and our memories of how we did feel, both tend to be innacurate. Peak End Effect:We most remember how experiences felt at their peaks, and how they felt at the end. The majority of people want more control over their lives, but they also want to simplify their lives. ![]() ![]() ![]() Everyday Russian citizens recount the past thirty years, showing us what life was like during the fall of the Soviet Union and what it's like to live in the new Russia left in its wake. In Secondhand Time, Alexievich chronicles the demise of communism. When the Swedish Academy awarded Svetlana Alexievich the Nobel Prize, it cited her for inventing "a new kind of literary genre," describing her work as "a history of emotions-a history of the soul." Alexievich's distinctive documentary style, combining extended individual monologues with a collage of voices, records the stories of ordinary women and men who are rarely given the opportunity to speak, whose experiences are often lost in the official histories of the nation. The New York Times The Washington Post The Boston Globe The Wall Street Journal NPR Financial Times Kirkus Reviews NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NAMED ONE OF THE TEN BEST BOOKS OF THE YEAR BY THE WASHINGTON POST AND PUBLISHERS WEEKLY LOS ANGELES TIMES BOOK PRIZE WINNER ![]() ![]() NEW YORK TIMES BESTSELLER A symphonic oral history about the disintegration of the Soviet Union and the emergence of a new Russia, from Svetlana Alexievich, winner of the Nobel Prize in Literature ![]() |