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Vengeance is an artful, compulsively readable blend of autofiction, reportage, social commentary, and mystery writing. Readers are immediately swept up by the novel’s central question, “Is Kendrick King guilty?” even as the narrator keeps us in tune with the ironies, injustices, histories, and fractured points of view impacting the answer to this question Set in Louisiana’s Angola prison, this resonant and timely novel explores issues of race and class in the American judicial system, the often slippery labels of guilt and innocence, and the reporter’s power (and privilege) to cast light upon facts and human stories Excellent blurbs in hand from Sarah Koenig, host/executive producer of the acclaimed podcast Serial , Kiese Laymon, and Joshua Ferris ( To Rise Again at a Decent Hour ) Vengeance draws its subject matter from fiction and real life. As James Wood noted in The New Yorker of Lazar’s last novel, I Pity the Poor Immigrant , the author has an unsurpassed talent at crafting “singular narratives out of diverse sources.” Zachary really did spend time (nights and days) in Angola interviewing prisoners, but this is a novel. Author lives and works during the academic year in New Orleans, LA, where he teaches at Tulane. He is available for bookstore, library, and campus visits The author will attend SIBA, with ARCs available at the Fall 2017 annual show, as well as librarians at ALA Midwinter Louisiana’s judicial system (highest rate of incarceration anywhere in the world) and Angola prison in particular have been in the news a lot frequently; NPR ran an April 2017 story on the state’s short-staffed public defenders’ offices; The New Yorker ran a January 2017 profile on Albert Woodfax, the man who served the longest solitary confinement sentence in the prison’s history Angola Prison is 18,000 acres (larger than Manhattan) and has 6300 inmates. They have a radio station, a newspaper, and a television station "Despite the words «A Novel» on the cover, I found myself struggling to think of Vengeance as anything but true. In part, that's by design: the main character is a journalist named Zachary Lazar who meets an inmate at the notorious plantation-style Angola Prison in Louisiana and decides to look into his claims of innocence. But it's also a tribute to the humble, detailed brilliance of the novelist's work in portraying both his character and the lives of those he investigates. His true-or-not-true style becomes a way of reckoning with the difficult, ambivalent work of paying witness in a society organized around punishment and race. True or not, it's a quietly stunning work of fiction." —Tom Nissley, Phinney Books, Seattle, WA

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Рожденные с разницей всего в десять месяцев, Июль и Сентябрь неразлучны, они не нуждаются ни в ком, кроме друг друга. После инцидента с травлей в школе девочки вместе с матерью перебираются в большой семейный дом на побережье, который долго пустовал. В новой жизни, такой далекой от всех и всего, Июль обнаруживает, что характер их отношений с сестрой постепенно меняется неожиданным образом. В доме поселяется атмосфера страха и тревоги. Девочки расширяют границы дозволенного в своих играх до тех пор, пока не вызывают цепочку шокирующих событий, которые предшествуют пугающим открытиям об их прошлом и будущем. Внимание! Аудиозапись содержит нецензурную брань

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Рожденные с разницей всего в десять месяцев, Июль и Сентябрь неразлучны, они не нуждаются ни в ком, кроме друг друга. После инцидента с травлей в школе девочки вместе с матерью перебираются в большой семейный дом на побережье, который долго пустовал. В новой жизни, такой далекой от всех и всего, Июль обнаруживает, что характер их отношений с сестрой постепенно меняется неожиданным образом. В доме поселяется атмосфера страха и тревоги. Девочки расширяют границы дозволенного в своих играх до тех пор, пока не вызывают цепочку шокирующих событий, которые предшествуют пугающим открытиям об их прошлом и будущем.

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Девушка-музыкант заводит дружбу со стаей птиц, и это открывает перед ней неожиданные возможности. Вызванный ко двору крысолов оказывается втянут в борьбу за трон разоренного королевства. Молодой муж обнаруживает соседство с огромным плюшевым медведем, которого купила его супруга, пугающим из-за его слишком внимательного взгляда. Попавшиеся в искусно расставленные силки и в капканы, созданные собственными руками, герои дебютного сборника Наоми Исигуро стремятся к свободе и полету, и перемены, что ждут их за поворотом, превосходят самые смелые ожидания.

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Secrets cannot stay buried forever In the town of Ross Prairie, Caroline Webb and Sarah Bilyk are bound by family, duty, and a decades-old act of betrayal. On opposing sides of a long-simmering feud between their husbands’ families, the two women meet again after years of estrangement when Caroline moves into the same nursing home as Sarah’s father. Seeing each other sparks memories – of young love and the path to a fateful summer day that changed everything. Together, Caroline and Sarah uncover a truth that alters their lives forever, proving that love will overcome heartache and that friendship survives time.

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In The New World: The Awakening, God has lost hope and faith in His creation and is planning to destroy it and start anew. Mankind’s only hope to stop God from His plans of destruction rests in the hands of Lyric Daniels, a goddess incarnate from the alternate reality Gaia.
As Lyric’s mission begins, she struggles with the ability to ascend Earth, knowing that that’s the only way. For some reason, her powers are foreign to her, and she can’t remember how to harness and awaken them. But once she finds her memory, which she stored away for safekeeping, she can convince God that mankind is worth saving.
Accompanied by her best friends, Miles and Denise, and under the protection and guidance of her Gaian, her twin soul, Jason, Lyric endures life-threatening trials and tribulations along the way. Unbeknownst to her, the journey will become more difficult than she could have ever imagined.
In the end, she will be faced with the decision to either sacrifice herself to save Earth, or to return to Gaia and live out her last incarnate life with Jason.

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A finalist for the National Book Award, Many Mansions was originally published in 1952 and received raves upon its debut. Now available for the first time in a paperback edition, the novel recounts an elderly woman's difficult decision to reread an unpublished memoir. Her poignant story of forbidden love and sacrifice, which begins during the Victorian era and concludes in the years following World War II, recalls the aristocratic elegance and psychological insights of works by Edith Wharton and Henry James. PRAISE FOR ISABEL BOLTON "She is not merely a clever woman writer who exploits the feminine sensibility vibrating on the edge of contemporary life. She is a poet of the nobler kind who uses the compression and the polish of her fiction to focus human insights and to concentrate moral passion." — Edmund Wilson, The New Yorker "The best woman writer of fiction in this country today." — Diana Trilling, The Nation "Bolton clearly learned from Virginia Woolf when it came to mingling serious and frivolous people and circumstances, then making each matter without pretending that they will transform one another permanently." — Margo Jefferson, The New York Times

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"An elaborate spoof that somehow manages to combine touches of the absurd and intimations of the surreal, strokes of caricature, slapstick, and the grotesque, with an inherent down-to-earth sanity and realism." — Saturday Review A wealthy white man and earnest do-gooder buys a building in a ghetto neighborhood in this warmly comic novel. Elgar Enders, having been expelled from eight Ivy League schools, is eager to make something of himself. He begins by attempting to improve his new property, an endeavor that plunges him into a world of cheerful amorality. Elgar's tenants — an uninhibited hairdresser and her militant husband, a refined grifter, and a former jazz singer who practices voodoo — gleefully proceed to take advantage of his naivety. But the fledgling landlord receives something of value in return in this satirical look at issues of gentrification, race, class, and privilege. Called "rather readable" by Andrew Sarris in The New York Times, this acclaimed novel was the basis for Hal Ashby's 1970 film of the same name.

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