Showing results for "Fiction" in Violence in Society

Vivian is a cosmopolitan Taiwanese-American tourist who often escapes her busy life in London through adventure and travel. Johnny is a 15-year-old Irish teenager living a neglected life on the margins of society. He has grown up in a family where crime is customary, violence is a necessity, and everything - and anyone - can be yours for the taking. As Vivian looks to find her calling professionally, she delights in exploring foreign countries, rolling hillsides, and new cultures. But all of that changes when...Vivian's path collides with Johnny.

Estaba la pájara pinta sentada en un verde limón se ha vuelto, con el tiempo, un hito en la literatura colombiana y uno de los textos más estudiados para entender el origen de la violencia que todavía hoy azota a este país. Su lenguaje fresco, ágil y rico ha permitido que la novela perdure y que cada día sea más valorada por las nuevas generaciones.

Nobody in the family talks about Ellen's grandmother Lola, who was swallowed up by the circus and emerged as a woman who tamed tigers and got away scot-free for killing her husband. When Ellen's husband Wayne beats her nearly to death, she runs to the only place she knows where a woman can completely disappear - the same Big Top that once sheltered her grandmother. Though the circus moves from one town to the next, Wayne tracks it, and Ellen, relentlessly.

La primera novela de Albalucía Ángel es una obra torrencial y adelantada a su tiempo que mezcla vivencias, digresiones y quimeras para trasladar al lector, a través de la mente de su protagonista, en un viaje frenético que lo llevará a toda velocidad a París, Roma, las islas griegas o Venus en una narración sin límites de género ni convenciones de estilo. Una obra que supuso un antes y un después para la literatura latinoamericana escrita por mujeres e introdujo con arrebato la experimentación posmodernista en la narrativa colombiana.

FINALIST FOR THE PARAGRAPHE HUGH MACLENNAN PRIZE FOR FICTION WORD GUILD AWARDS BEST FICTION BOOK OF THE YEAR By the author of the award-winning The Ghost Garden, a bravely imagined, deeply empathetic novel of two adolescent boys, bound by friendship and a terrible secret. With love and sex so...

La autora de este libro coge mal el lápiz. Lo ha cogido mal desde niña, cuando algunos profesores se empeñaban en corregirla porque "hay que escribir como Dios manda", e, incapaz de aprender, ha seguido cogiéndolo mal hasta el día de hoy, con todas las consecuencias. Porque... ¿puede acaso salir buena letra de un lápiz torcido? Ésta es una de las cuestiones que planean sobre este conjunto de cuentos: la de la escritura indócil, libre y acelerada, la escritura que araña y rasga la memoria, que destroza los recuerdos y hace de ellos otra cosa.

Texas, 1976: Odessa steht kurz vor dem nächsten Ölboom. Während die Männer der Stadt den kommenden Wohlstand feiern, kennen und fürchten ihre Frauen die Gewalt, die immer zu folgen scheint. Als die vierzehnjährige Gloria Ramírez mehr tot als lebendig auf der Veranda von Mary Whiteheads Ranch gefunden wird, wissen Mary und die anderen Frauen von Odessa, was jetzt passieren wird. Aber sie wissen auch, dass sie dieses Mal zusammenhalten werden. Eine eindringliche Erkundung der Schnittstellen von Gewalt, Herkunft und Klasse.

Il croyait connaître son épouse. Mais comment pouvait-il soupçonner ce qu’elle-même ignorait ? À la suite d’un accident de la route, la vie de Julie et de sa famille vole en éclats. Le choc de l’accident en réveille un autre, cadenassé dans les tréfonds de sa mémoire pendant plusieurs décennies. Entre oubli et vérité cachée, elle découvre qu’elle a sombré dans l’amnésie traumatique pour se préserver de l’innommable. Aidée de Franck, son mari, elle va remonter le fil de son passé. Parviendront-ils à rassembler tous les morceaux du puzzle de son histoire ?

In this powerful and wide-ranging collection of essays, Rebecca Solnit turns her attention to the war at home. This is a war, she says, "[W]ith so many casualties that we should call it by its true name, this war with so many dead by police, by violent ex-husbands and partners and lovers, by people pursuing power and profit at the point of a gun or just shooting first and figuring out who they hit later."

At Jessica McCord's house, law enforcement officials found windows covered in blankets, a cache of weapons and ammunition, carpets torn up, new tile on the floors, and the couch missing. Then they learned about the nasty divorce and bitter custody battle that had landed Jessica in jail. Along with her new police officer husband, Jessica became the prime suspect in this brutal double murder.

Dies ist Paul Austers sehr persönliche Abrechnung mit der Vergottung des Waffentragens in der amerikanischen Kultur und Gesellschaft. Er erzählt davon zunächst in biografischen Vignetten, beginnend bei den Spielzeugcolts der Kindheit und den Western im Fernsehen. Es folgen die ersten Einschläge im näheren Umfeld, der von der Großmutter erschossene Großvater - lange Zeit ein Familiengeheimnis, von dem Auster nur durch Zufall erfuhr.

Rosie Batty knows pain no woman should have to suffer. Her son was killed by his father in a violent incident in February 2014, a horrendous event that shocked not only the nation but the world. Greg Anderson murdered his 11-year-old son, Luke, and was then shot by police at the Tyabb cricket oval. Rosie had suffered years of family violence and had had intervention and custody orders in place in an effort to protect herself and her son. She believes the killing was Greg's final act of control over her.

Chrissie and Anthony Foster were like any other young family, raising their three daughters in suburban Melbourne with what they hoped were the right values. Chrissie could not have known that the stranger-danger she feared actually lurked in the presbytery attached to the girls' Catholic primary school. Father Kevin O'Donnell, a long-term paedophile, lived and worked there. Two of their young daughters became victims of O'Donnell. And once the truth was revealed, the Fosters began a battle to find out how this could have happened.

A humanities professor at a liberal arts college is terrified of what she feels is an inevitable act of violence, fearing that one day, she will be the victim of a disgruntled student’s aggression. As a single mother, no one matters more than her little boy. So when a senseless act of violence changes her life forever, she finds herself inexplicably drawn to the very weapon used to perpetrate the crime—and to the irresistible feeling of power that comes from holding life and death in her hands.

Best-selling novelist Jonathan Kellerman returns to his roots as a scientist and child psychologist to dissect a problem that is attacking our society: dangerous children who, in all likelihood, will grow up to be dangerous adults. Kellerman explores the "nature v. nurture" theory, discusses the legal and psychological ramifications of treating such children as adult criminals, and tackles the assertion that violence in the media is to blame.