Few American writers create more memorable landscapes - both natural and interior - than James Sallis. His highly praised Lew Griffin novels evoked classic New Orleans and the convoluted inner space of his black private detective. More recently - in Cypress Grove and Cripple Creek - he has conjured a small town somewhere near Memphis, where John Turner - ex-policeman, ex-con, war veteran and former therapist - has come to escape his past. But the past proved inescapable; thrust into the role of Deputy Sheriff, Turner finds himself at the centre of his new community, one that, like so many others, is drying up, disappearing before his eyes. As Salt River begins, two years have passed since Turner's amour, Val Bjorn, was shot as they sat together on the porch of his cabin. Sometimes you just have to see how much music you can make with what you have left, Val had told him, a mantra for picking up the pieces around her death, not sure how much he or the town has left. Then the sheriff's long-lost son comes ploughing down Main Street into City Hall in what appears to be a stolen car. And waiting at Turner's cabin is his good friend, Eldon Brown, Val's banjo on the back of his motorcycle so that it looks as though he has two heads. 'They think I killed someone,' he says. Turner asks: 'Did you?' And Eldon responds: 'I don't know.' Haunted by his own ghosts, Turner nonetheless goes in search of a truth he's not sure he can live with. James Sallis has been called by critics one of the best writers in America. 'It's a crime that a writer this good isn't better known,' wrote David Montgomery in the Chicago Tribune, while Marilyn Stasio in the New York Times Book Review called his Turner books 'a superior series... a keeper.' Salt River will take his reputation even higher and reach the wider audience he so richly deserves.
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'I drive. That's what I do. All I do.' 'Much later, as he sat with his back against an inside wall of a Motel 6 just north of Phoenix, watching the pool of blood lap toward him, Driver would wonder whether he had made a terrible mistake. Later still, of course, there'd be no doubt. But for now Driver is, as they say, in the moment. And the moment includes this blood lapping toward him, the pressure of dawn's late light at windows and door, traffic sounds from the interstate nearby, the sound of someone weeping in the next room....' Thus begins Drive, a new novella by James Sallis. Set mostly in Arizona and L.A., the story is, according to Sallis, "...about a guy who does stunt driving for movies by day and drives for criminals at night. In classic noir fashion, he is double-crossed and, though before he has never participated in the violence ('I drive. That's all.'), he goes after the ones who doublecrossed and tried to kill him."
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Designed to strengthen the global church with a widely accessible, theologically sound, and pastorally wise resource for understanding and applying the overarching storyline of the Bible, this commentary series features the full text of the ESV Bible passage by passage, with crisp and theologically rich exposition and application. Editors Iain M. Duguid, James M. Hamilton, and Jay A. Sklar have gathered a team of experienced pastor-theologians to provide a new generation of pastors and other teachers of the Bible around the world with a globally minded commentary series rich in biblical theology and broadly Reformed doctrine, making the message of redemption found in all of Scripture clear and available to all. Thirteen contributors explain the shorter Prophetic Books of the Old Testament—Daniel, Hosea, Joel, Amos, Obadiah, Jonah, Micah, Nahum, Habakkuk, Zephaniah, Haggai, Zechariah, and Malachi—with biblical insight and pastoral wisdom, showing readers the hope that is offered even amidst judgment. Contributors include: Mitchell L. Chase George Schwab Allan M. Harman Michael G. McKelvey Max Rogland Jay Sklar Stephen J. Dempster Daniel Timmer David G. Firth Jason S. DeRouchie Michael Stead Anthony R. Petterson Eric Ortlund
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Since Kant, philosophy has been obsessed with epistemological questions pertaining to the relationship between mind and world and human access to objects. In The Democracy of Objects, Bryant proposes that we break with this tradition and once again initiate the project of ontology as first philosophy. Drawing on the object-oriented ontology of Graham Harman, as well as the thought of Roy Bhaskar, Gilles Deleuze, Niklas Luhman, Aristotle, Jacques Lacan, Bruno Latour and the developmental systems theorists, Bryant develops a realist ontology that he calls "onticology". This ontology argues that being is composed entirely of objects, properties, and relations such that subjects themselves are a variant of objects. Drawing on the work of the systems theorists and cyberneticians, Bryant argues that objects are dynamic systems that relate to the world under conditions of operational closure. In this way, he is able to integrate the most vital discoveries of the anti-realists within a realist ontology that does justice to both the material and cultural. Onticology proposes a flat ontology where objects of all sorts and at different scales equally exist without being reducible to other objects and where there are no transcendent entities such as eternal essences outside of dynamic interactions among objects. Contents: Towards a Finally Subjectless Object Grounds For a Realist Ontology The Paradox of Substance Virtual Proper Being The Interior of Objects Regimes of Attraction, Parts, and Structure The Four Theses of Flat Ontology
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Roger Maley arbeitet als Systemadministrator und verfolgt in seiner Freizeit die Entwicklung von Kodi. Er liebt es alle neuen Applikationen die auf dem Markt kommen gerade für Kodi zu testen und dazu Anleitungen zu schreiben. Da wir immer mehr in die Digitalisierung gehen, werden viele bekannte Techniken wie Sat-TV und Kabel-TV bald der Vergangenheit angehören. Und da ist immer noch nicht Schluss, der komplette Bankensektor wird durch die Blockchain-Technik aus den Angeln gerissen und es wir spannend. Bleiben Sie auch am Ball.
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"Hello beautiful. I am Popeye." In 1998 I met Jhon Jairo Velásquez Vásquez—alias "Popeye"—lieutenant to the Medellín Cartel's leader, Pablo Escobar Gaviria. Our first encounter was at the high security yard of the Modelo Prison in Bogotá, Colombia. I visited the prison frequently as a journalist for RCN TV. I was always conducting interviews and speaking to the inmates, uncovering news about what was really happening inside the prison. At that time, stories about confrontations between guerrilla and paramilitary factions were everyday news. You could often hear shots inside the prison as the different sides fought for control. I had always wanted to meet one of the members of the Medellín Cartel. I was curious to know who they were, what they looked like, and what these men, who belonged to the most powerful drug cartel that has ever existed in Colombia, were thinking. At the high security yard I was able to talk with two of them. The most notorious was Jhon Jairo Velásquez Vásquez. "Hello beautiful. I am Popeye." The man who sat in front of me stared at me. His pale skin reflected the six years he had been in prison; in fact, it looked as if he had never once stepped outside. Popeye smiled at me with curiosity while his cold eyes examined me from head to toe. We were introduced by another inmate, Ángel Gaitán Mahecha, a man accused of paramilitarism and homicide. My first impression was surprise and curiosity; I also examined him from head to toe. He wasn't quite six feet tall. His slim body and the smile on his face almost put me at ease. I thought this man couldn't possibly frighten anyone, and yet I couldn't forget the number of homicides in which he had been involved. I wanted to see into the mind of the man who planned and participated in the most horrible homicides that the cartel had carried out in their war against the state.
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An NPR Book of the Year At the dawn of the twentieth century, the United States was one of the world's richest, most populous, most technologically advanced nations. It was also a nation divided along numerous fault lines, with conflicting aspirations and concerns pulling it in different directions. And it was a nation unsure about the role it wanted to play in the world, if any. Americans were the beneficiaries of a global order they had no responsibility for maintaining. Many preferred to avoid being drawn into what seemed an ever more competitive, conflictual, and militarized international environment. However, many also were eager to see the United States taking a share of international responsibility, working with others to preserve peace and advance civilization. The story of American foreign policy in the first four decades of the twentieth century is about the effort to do both - "to adjust the nation to its new position without sacrificing the principles developed in the past," as one contemporary put it. This would prove a difficult task. The collapse of British naval power, combined with the rise of Germany and Japan, suddenly placed the United States in a pivotal position. American military power helped defeat Germany in the First World War, and the peace that followed was significantly shaped by a U.S. president. But Americans recoiled from their deep involvement in world affairs, and for the next two decades, they sat by as fascism and tyranny spread unchecked, ultimately causing the liberal world order to fall apart. America's resulting intervention in the Second World War marked the beginning of a new era, for the United States and for the world. Brilliant and insightful, The Ghost at the Feast shows both the perils of American withdrawal from the world and the price of international responsibility.
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<p>The long table was filled with guys from Overton’s school, everyone was busy with breakfast and talked from sixteen to a dozen. Only two days remained until the end of the summer semester, and everyone was wildly excited about the idea of returning home for a long eight-week vacation. Bruce, being the captain of the hostel, sat at the head of the table, and Clive next to him so that they could read their letters calmly.</p>
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