Vampires, humans, cops, and criminals collide in the dark streets of Mexico City. As the trail of corpses stretches behind her, local cops and crime bosses both start closing in. Her plan doesn’t include Domingo, but little by little, Atl finds herself warming up to the scrappy young man and his undeniable charm. Domingo is mesmerized.Ītl needs to quickly escape the city, far from the rival narco-vampire clan relentlessly pursuing her. Atl, the descendant of Aztec blood drinkers, is smart, beautiful, and dangerous. Domingo, a lonely garbage-collecting street kid, is just trying to survive its heavily policed streets when a jaded vampire on the run swoops into his life. From Silvia Moreno-Garcia, the New York Times bestselling author of Mexican Gothic, comes Certain Dark Things, a pulse-pounding neo-noir that reimagines. Welcome to Mexico City, an oasis in a sea of vampires. From Silvia Moreno-Garcia, the New York Times bestselling author of Mexican Gothic, comes Certain Dark Things, a pulse-pounding neo-noir that reimagines vampire lore.
0 Comments
When the tornado hits, Dovey, a local laundress, is flung by the terrifying winds into a nearby lake. on Palm Sunday, April 5, 1936, a massive funnel cloud flashing a giant fireball and roaring like a runaway train careened into the thriving cotton-mill town of Tupelo, Mississippi, killing more than 200 people, not counting an unknown number of black citizens, one-third of Tupelo’s population, who were not included in the official casualty figures. “Gwin’s gift shines in the complexity of her characters and their fraught relationships with each other, their capacity for courage and hope, coupled with their passion for justice.” - Jonis Agee, bestselling author of The River WifeĪ few minutes after 9 p.m. In the aftermath of a devastating tornado that rips through the town of Tupelo, Mississippi, at the height of the Great Depression, two women worlds apart-one black, one white one a great-grandmother, the other a teenager-fight for their families’ survival in this lyrical and powerful novel Back of the ballot, he must have property, industry, skill, economy, intelligence, and character” (Washington, 1901, Ch. As the author had rightly suggested: “Political activity alone cannot make a man free. We cannot agree with such a point of view, because Washington’s apoliticism stems out of the author’s acute understanding of the very essence of socio-political processes as being objective – it is not politics that define socio-political reality but vice versa. In its turn, this explains why many racially conscious Black-Americans tend to criticize Washington’s book for its apparent lack of political sounding – they refer to the author as not being politically active enough, which in their eyes, deems him as defeatist. The validity of such an idea remains unchallenged even today, even though neo-Liberal politicians have succeeded in convincing many citizens to be fully preoccupied with “exploring their racial uniqueness”, as some form of existential fetish, on their part. In its turn, this allows us to refer to the following quotation from “Up from Slavery” as such that represents the philosophical quintessence of Washington’s book: “The individual who can do something that the world wants done will, in the end, make his way regardless of his race” (Washington, 1901, Ch. Again and again, throughout his book, Washington emphasizes the fact that it is people’s existential integrity, which truly counts, regardless of these people’s racial affiliation. She lives in the Bay Area of California, with a backyard that is full of flowers, which she adores, especially with many different shades of roses. She has written over two dozen books for children and young adults, and has enjoyed writing every one of them. SMITH, Lisa Jane Smith, is the New York Times #1 Bestselling author of The Vampire Diaries, The Secret Circle, The Forbidden Game, Dark Visions, Wildworld and Night World series. Once, while hiking, she saw a snow I have a new blog about my Vampire Diaries fanfic. She loves to visit a friend's little cabin in the Point Reyes National Seashore area, which has lots of trees, lots of animals, lots of beaches to walk on, and lots of places to hike. I have a new blog about my Vampire Diaries fanfic. She also touches on the work of Howard Carter, his errors and triumphs, and also takes a stab at untangling the hot mess of lineages in the royal house. Primarily, she posits that the Heretic Pharaoh Akhenaten was perhaps not so hellbent on destroying Egypt's pantheist religions in a vicious pogrom, and just that he was very much concerned with 'doing his own thing' so to speak, and the focus on Akhetaten weakened the grip of the other temples. Which is a pity, because she makes some compelling arguments in her book that differ from the generally accepted conventions related to the Amarna Period and its direct aftermath. I'm also an adept at Google-fu, so I was rather saddened to learn that El Mahdy passed away a good few years ago, and doesn't have much of a footprint. Such was the case with Tutankhamen by Christine El Mahdy. What I absolutely love is when I reach out for a book, see the gilt lettering on the spine, open it, and realise that this volume, despite the lack of dust cover, will be absolutely *perfect*. I'm a huge fan of trawling second-hand bookstores, and it's not exactly an open secret that I'm currently researching old King Tut because Reasons. He was knighted in 2020 for services to drama and charity. He is best known and best loved for his long-running performance (spanning twenty-four years) as Agatha Christie's Hercule Poirot in the ITV series of the same name. Sir David Suchet, CBE, is a London-born actor who has appeared in such films as Harry and the Hendersons, Iron Eagle and Executive Decision. In its opening scene, Death on the Nile strays furthest from Agatha Christie’s source. Crime Drama Mystery While on vacation on the Nile, Hercule Poirot must investigate the murder of a young heiress. David Suchet with a Remington 1866 Derringer as Hercule Poirot in Agatha Christie's Poirot: Death on the Nile. Now, we know why, as Death on the Nile actually gives Branagh’s Poirot a mustache origin story. The nobility had never liked him, not when he was the High Prince, and certainly not since his coronation. The hammered iron crown had long since been placed on his head, his palm cut and bled on an altar as he was named king of Tranavia-his downfall was oncoming. “Any trouble is of your own making,” the voice snipped. Those strange intonations hummed constantly in his veins. The thin, reedy voice that needled him from a place past death. Horrors at the edges of his awareness and that voice. An empty glass on the floor within reach and a book hanging over the arm where Serefin had put it to mark his place as he considered the same thing he had considered every night for the last four months: dreams of moths and blood and monsters. To rouse him, clearly, but he probably wasn’t particularly surprised to find Serefin lying on the chaise in his sitting room, one foot braced on the ground, the other leg kicked up against the back. He was awake when Kacper slipped into his chambers. No, he did it because it was easier to drink himself into oblivion than face the nightmares. It wasn’t like he spent his nights awake because he was expecting another tragedy. He knew that span of hours intimately, but even knowledge of the inevitable wasn’t enough to make it less painful. It was a time when knives were unsheathed, when plans were created and seen into fruition. Serefin Meleski inhabited the sliver of night that was ripe for betrayal. A viper, a tomb, a trick of the light, Velyos is always reaching for whatever does not belong to him. Taking place between the 10th and the 16th May 2021, Daphne du Maurier Reading Week is timed to coincide with what would have been Daphne du Maurier’s birthday on the 13th May. The Scapegoat is the book I chose to read for Daphne du Maurier Reading Week hosted once again by Ali at Heavenali. Links provided for convenience only, not as part of an affiliate programme So the Englishman steps into the Frenchman’s shoes, and faces a variety of perplexing roles – as owner of a chateau, director of a failing business, head of a fractious family, and master of nothing.įormat: Hardcover (368 pages) Publisher: Victor Gollanczĭisclosure: If you buy a book via the above link, I may earn a commission from, whose fees support independent bookshops It’s to be his last carefree moment, for when he wakes, Jean has stolen his identity and disappeared. Their resemblance to each other is uncanny, and they spend the next few hours talking and drinking – until at last John falls into a drunken stupor. By chance, John and Jean – one English, the other French – meet in a provincial railway station. There are three central characters and several genres working at the book's core: young Bo who is actively grieving his mother's death Blue, a mute middle-aged man who just came out of a two-month coma and half-Korean queer magazine worker Brandon, 28, who is fired just before Christmas. This debut reads like a fever dream caught in a spinning house of mirrors. "Flux" by Jinwoo Chong, $26.99 (Melville House) This is a surprising engrossing story of innocence, obsession and desire. Though theirs is not the only relationship the novel explores - Natalie's dorm-mate Clara is on hand to create even more insecurities as well as a classmate having an affair with a poetry professor - the age gap and power structure dynamics between Natalie and Nora is kept front and center in a page-turning novel that explores the emotionally revelatory nature of sexual awakenings. Enter Nora, a woman almost twice her age, who seduces her and unleashes a torrent of self-doubt, self-conscious stress, and the kind of sexual energy that percolates with desire and need throughout the story. Toronto lesbian author Fischer's insightful coming-of-age novel follows eighteen-year-old poet Natalie as she embarks on her first year at a Canadian college. "The Adult" by Bronwyn Fischer, $27 (Algonquin Books) May 23 So, it seems safe to say that at least some gut feelings are reliable and we ought to listen to those. Conscious deliberation is a slow and sometimes cumbersome process, and we need to be able act quickly in a lot of situations, especially when we are in danger. There may be good reasons for this feeling-but those reasons are hidden from consciousness.įrom an evolutionary perspective, it makes sense that we would have a mechanism whereby we unconsciously perceive and respond to stimuli in our enironment. They just feel an unusual sense of foreboding. For example, sometimes people can sense when they are in danger without knowing exactly why they believe this. Perhaps for some gut instincts, we are responding unconsciously to particular cues in our environment. The question is, when should we listen to our gut feelings and make decisions based on something we can’t explain? And when should we stop to think?Ī first approach to this question might be to consider whether gut feelings are in some sense rational, even if we can’t offer explicit reasons for them. Call it a hunch, an intuition, or an instinct-what they all have in common is that we don’t know why we feel the way we do, yet the feeling can be so compelling, it moves us to act. Sometimes we make decisions that we think long and hard about, but often we make decisions simply because it feels right. This week’s show is about gut feelings-and the art of decision-making. |