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Vastralaya

Evan Shively (Perseus271)

Lowry's book is a piece of nationalist propaganda, using oversimplification, emotional appeals, and dualistic morality to shut down her readers' minds. More troubling is that it is aimed at children, who don't yet have the critical faculties to defend themselves from such underhanded methods.Unsurprisingly, Lowry adopts the structure of the monomyth, equating a spiritual journey with a moral one. Her Christ-figure uses literal magic powers to rebel against his society. This rebellion and the morality behind it are presented as 'natural', to contrast with the 'abnormal morality' around him.Lowry doesn't seem to understand that we get our morality from our culture, it isn't something in-born that we 'lose'. This is the first hint of Lowry's misunderstanding of the human mind. She assumes her own morality is correct, and then builds her story to fit it.She also makes the character act and think like a modern person would, despite never adequately explaining how he came up with such unusual notions. It's the same trick many historical fiction authors use, leaving us scratching our heads as to why a Fourteenth Century French peasant speaks like a second-wave feminist. I'd suggest that Lowry falls to this fault for the same reason they do: she has no talent for imagining how others might think differently.Lowry's book ends with the standard nonspecific transgressive spiritual event that marks any overblown monomyth. Since the book is not a progressive presentation of ideas, it does not suggest any conclusion. Instead, the climax is a symbolic faux-death event (symbolic of what, none can say). Confusingly, Lowry later redacts the ending in the sequels, undermining the pseudo-spiritual journey she created.Though some call this book 'Dystopian', it's closer to the truth to say Lowry borrows elements from the Dystopian authors, attempting to combine the spiritual uplift of the monomyth with the political and social deconstruction of the Dystopia. What she doesn't recognize is that the faith of the one conflicts with the cynicism of the other. She draws on ideas and images from many other authors: Bradbury, Huxley, Orwell, Burgess, but doesn't improve upon them.These authors created novels that reflected the world around them. They based them on the political events of the times, presented with realism and careful psychology. Though they presented the struggle between the individual and the society, they portrayed morality as grey, and suffering as the result of individual human faults, not political systems. Lowry doesn't realize that the best way to critique Fascism or Communism is not to present it as 'evil', but to simply present it as it was.But Lowry's world is not based in reality, it is symbolic and hyperbolic. Instead of writing about how poverty makes the world seem small and dull, she has the characters magically unable to experience life. Instead of an impersonal government, she presents a sort of evil hippy commune. The only political system it resembles is a school, which is a neat little trick to get the kids interested. The idea that 'school=unfeeling totalitarian hell' is not an uncommon one, but it's one I'm surprised teachers would support. The book also suggests a creche, but lacking similarity to any real-world system, it doesn't work as a political criticism.Lowry creates this artificial world to suit her purposes, but it is not a symbolic exercise like 'Animal Farm'. We understand that the pigs of animal farm are symbolic, because there are no talking pigs. Lowry's world is more insidious, since its oversimplification is hidden. She builds an artificial world to support the dualist morality that she's pushing. She presents the same knee-jerk fears about euthanasia and abortion that people use against Women's Rights or Health Care.Worse than these Straw Man arguments is the fact that she never deals with the economic causes of totalitarianism. Tyrants don't just rise up and take control by their own force of will, they come into power because of the socioeconomic situations that surround them. Lean times produce strong, fascist leaders while profitable times produce permissive, liberal societies.Strong, centralized leadership simply doesn't self-propagate in cultures where everyone is clothed, fed, and housed. The Holocaust was socially about some ideal of 'change' and 'purity', but it was economically about the transmission of wealth from Jews, Poles, and Catholics to Germans (and more specifically, to those Germans who had elected the new ruling party).The atrocities of war are, for the most part, committed by normal people on other normal people. By presenting the power structure as 'amoral' and 'inhuman', Lowry ignores the fact that people will willingly cause others to suffer. Painting the enemy as 'evil' and 'alien' is just an unsophisticated propagandist method.She contrasts her 'evil' with the idealized 'goodness' of emotion, beauty, and freedom. This is nothing more than the American dream of 'specialness' that Mr. Rogers was pushing for so many years. We are all special, we are all good, we all deserve love and happiness. Sure, it sounds good, but what does it mean?Where does this 'specialness' come from? If it is just the 'sanctity of human life', then it's not really special, because it's all-encompassing. If all of us are special, then none of us are. There's nothing wrong with valuing life, but when Lowry presents one mode of life as valuable and another as reprehensible, she ceases to actually value humanity as a whole. Instead, she values a small, idealized chunk of humanity. 'People are good, except the ones I don't like' is not a moral basis, nor is it a good message to send to kids.If the specialness is only based on fitting in with a certain moral and social guideline, then Lowry isn't praising individuality, she's praising herd behavior. The protagonist is only 'special' because he has magic powers. His specialness is not a part of his character, it is an emotional appeal.The idea of being a special individual is another piece of propaganda, and its one kids are especially prone to, because kids aren't special: they are carefully controlled and powerless. Giving a character special powers and abilities and then using that character to feed a party line to children is not merely disingenuous, it's disturbing.There is also a darker side to universal specialness: giving a child a sense of importance without anything to back it up creates egotism and instability. Adults noticed that children with skills and friends had high self-esteems, but instead of teaching their children social skills and knowledge, they misunderstood the causal relationship and tried to give them self-worth first.Unfortunately, the moment unsupported self-worth is challenged, the child finds they have nothing to fall back on. Their entitlement didn't come from their skills or experiences, and so they have nothing to bolster that sense of worth. Instead, any doubt sends them down a spiral of emotional instability.A single book like this wouldn't be the cause of such a state in a child, but it does act as part of the social structure built to give a sense of worth without a solid base for that worth. People like to believe they are special, kids especially so, but being a remarkable person is not a result of belief but of actions. If the book had informed them, then it would leave them better off, but giving them a conclusion based on emotional appeals does nothing to build confidence or character.Many people have told me this book is good because it appeals to children, but children often fall for propaganda. Children develop deep relationships with pop stars, breakfast cereals, and Japanese monsters. This does not make them good role models for children.Feeding 'specialness' to kids along with a political message is no better than the fascist youth programs Lowry intends to criticize. The obsession with individuality is just another form of elitism. It's ironic that people in America most often describe themselves as individuals when pointing out the things they do to align themselves with groups.But banding together in a community is not a bad thing. For Lowry and other 'Red Scare' children, any mention of 'communal' can turn into a witch hunt, but we all give up some personal rights and some individuality in order to live in relatively safe, structured societies. There are benefits to governmental social controls and there are drawbacks, and it's up to us to walk the line between the two. Anarchy and Totalitarianism never actually exist for long: we are social animals.It's not difficult to understand why Lowry is so popular, especially amongst educators. The message she gives aligns perfectly with what they were taught as kids, from Red Scare reactionism to the hippy-dippy 'unique snowflake' mantra. These ideas aren't entirely misguided, either. It's good to recognize the benefits of difference and the dangers of allowing other to control our lives.If a reader believes that fascism and socialism are inherently wrong and that their own individuality is their greatest asset, they will likely sympathize with Lowry's work. However, this doesn't make the book honest, nor beneficial. One of the hardest things we can do as readers is disagree with the methods of authors we agree with ideologically.It makes us feel good to find authors who agree with us, but this is when we should be at our most skeptical. Searching the world for self-justification is not a worthwhile goal, it simply turns you into another short-sighted, argumentative know-it-all. 'Yes men' never progress.Lowry is toeing the party line. She does not base her book around difficult questions, like the Dystopian authors, but around easy answers. She doesn't force the reader to decide for themselves what is best, she makes it clear what she wants us to think. Her book is didactic, which means that it instructs the reader what to believe.Even if her conclusions about Individuality vs. Community are correct, she doesn't present arguments, she only presents conclusions. Like rote memorization or indoctrination, she teaches nothing about the politics, social order, economics, or psychology of totalitarianism or individuality. The reader is not left with an understanding, just an opinion.The baseless 'individuality' of the book lets the reader imagine that they are rebels--that they are bucking the system even as they fall into lock-step. By letting the reader think they are already free-thinking, Lowry tricks them into forgetting their skepticism.She is happy to paint a simple world of black and white, and this is likely the world she sees. I doubt she is purposefully creating an insidious text, she just can't see past her own opinions. She writes this book with a point to make, and makes it using emotional appeals and symbolism. She doesn't back it up with arguments because she doesn't seem to have developed her opinions from cogent arguments.In the end, she doesn't show us that the structure of this society is wrong, she says nothing poignant about individuality vs. community; instead, she relies on threats to the life of an innocent infant. Yet nowhere does she provide an argument for why communal living or the sacrifice of freedoms for safety must necessarily lead to infanticide.In politics, making extreme claims about the opposing side is called mud-slinging, it is an underhanded and dishonest tactic. It works. Arguing intelligently is difficult, accusing is easy, so that's what Lowry does.She is another child of WWII and the Cold War who hasn't learned her lesson. She quickly condemns the flaws of others while failing to search out her own. Even after the Holocaust, there are many racist, nationalist, violent Jews; conflict rarely breeds a new understanding.America condemned the faceless communal life of the Second World, and yet America created The Projects. We critiqued strong governmental controls, but we still have the bank bailout, socialized medicine, socialized schooling, and socialized charity. America condemned the Gulags and Work Camps, and yet we imprison one out of every hundred citizens; far more than Stalin ever did. Some are killed, all are dehumanized.As a little sci fi adventure, the book isn't terrible. It's really the pretension that goes along with it. Lowry cobbles together religious symbolism and Dystopic tropes and then tries to present it as something as complex and thoughtful as the authors she copied. Copying isn't a crime, but copying poorly is.Like Dan Brown or Michael Crichton, she creates a political pamphlet of her own ideals, slaps a pretense of authority on it, and then waits for the money and awards to roll in--and they did. Many people I've discussed this book with have pointed to those awards as the surest sign of this book's eminent worth.Award committees are bureaucratic organizations. Their decisions are based on political machinations. This book is a little piece of Nationalism, and so it was lauded by the political machine that Lowry supports. The left hand helps the right. If awards are the surest sign of worth, then Titanic is a better movie than Citizen Kane.What surprises me is how many of those who brought up the award as their argument were teachers. If a politically-charged administrative committee is the best way to teach children, then why do you take umbrage when the principal tells you that bigger class sizes (and fewer benefits) are fine? Listen to him: doesn't he have award plaques?The other argument is usually that 'kids like it'. I usually respond that kids also like candy, so why not teach that? Some people also get angry at me for analyzing a book written for children:"Of course it's not a great book, it's for kids! If you want a good book, go read Ulysses!"I prefer to give children good books rather than pieces of political propaganda (even if they agreed with me). Children can be as skeptical, quick-witted, and thoughtful as adults if you give them the chance, so I see no excuse for feeding them anything less. Kids aren't stupid, they just lack knowledge, and that's a fine distinction. It's easy for adults to take advantage of their naivete, their emotionality, and their sense of worth. Just because it's easier for the teacher doesn't mean it's better for the child.When we show children something that is over-simplified, presenting an idealized, crudely moralizing world, we aren't preparing them for the actual world. If you give a child a meaningless answer to repeat, he will repeat it, but he won't understand why. Why not give the child a book that presents many complex ideas, but no rote answers, and let them make up their own minds? If they don't learn how to separate the wheat from the chaff and form their own opinions early, in a safe, nurturing environment, what chance will they have on their own as adults?In all the discussions and research regarding this book, I have come across very little analysis. It's especially surprising for a book with such a strong following, but there aren't many explanations of why the book is supposed to be useful or important.This lack of argument makes sense from a political standpoint, since there is no reason to analyze the worth of propaganda: its worth is that it agrees with society and indoctrinates readers. Analyzing it would defeat the purpose; political diatribes do not stand up to thoughtful attention.Perhaps someday someone will create a thoughtful, textual analysis of this book that will point out its merits, its structure and its complexity. I've gradually come to doubt it. I never expected when I wrote my original review of this book that it would garner this much attention.I still welcome comments and thoughts, but if your comment looks roughly like this: "You should read this book again, but this time, like it more. You think you're smart but you aren't. You're mean. Lowry is great. This book won awards and kids like it. It's meant for kids anyways, why would you analyze what its about? I bet you never even read the sequels. Go read 'Moby Dick' because you are full of yourself."I've heard that one before. If you do want to comment though, you might check out this article; I find it helps me with presenting my ideas.

It is 1939. Nazi Germany. The country is holding its breath. Death has never been busier, and will be busier still.By her brother's graveside, Liesel's life is changed when she picks up a single object, partially hidden in the snow. It is The Gravedigger's Handbook, left behind there by accident, and it is her first act of book thievery. So begins a love affair with books and words, as Liesel, with the help of her accordian-playing foster father, learns to read. Soon she is stealing books from Nazi book-burnings, the mayor's wife's library, wherever there are books to be found.But these are dangerous times. When Liesel's foster family hides a Jew in their basement, Liesel's world is both opened up, and closed down.In superbly crafted writing that burns with intensity, award-winning author Markus Zusak has given us one of the most enduring stories of our time.

Nobody Owens, known to his friends as Bod, is a perfectly normal boy. Well, he would be perfectly normal if he didn't live in a graveyard, being raised and educated by ghosts, with a solitary guardian who belongs to neither the world of the living nor the world of the dead.There are dangers and adventures for Bod in the graveyard: the strange and terrible menace of the Sleer; a gravestone entrance to a desert that leads to the city of ghouls; friendship with a witch, and so much more.But it is in the land of the living that real danger lurks, for it is there that the man Jack lives and he has already killed Bod's family.A deliciously dark masterwork by bestselling author Neil Gaiman, with illustrations by award-winning Dave McKean.

The Outsiders is about two weeks in the life of a 14-year-old boy. The novel tells the story of Ponyboy Curtis and his struggles with right and wrong in a society in which he believes that he is an outsider. According to Ponyboy, there are two kinds of people in the world: greasers and socs. A soc (short for "social") has money, can get away with just about anything, and has an attitude longer than a limousine. A greaser, on the other hand, always lives on the outside and needs to watch his back. Ponyboy is a greaser, and he's always been proud of it, even willing to rumble against a gang of socs for the sake of his fellow greasers--until one terrible night when his friend Johnny kills a soc. The murder gets under Ponyboy's skin, causing his bifurcated world to crumble and teaching him that pain feels the same whether a soc or a greaser.Librarian note: This record is for one of the three editions published with different covers and with ISBN 0-140-38572-X / 978-0-14-038572-4. The records are for the 1988 cover (this record), the 1995 cover, and the 2008 cover which is also the current in-print cover.

About three things I was absolutely positive.First, Edward was a vampire.Second, there was a part of him—and I didn't know how dominant that part might be—that thirsted for my blood.And third, I was unconditionally and irrevocably in love with him.Deeply seductive and extraordinarily suspenseful, Twilight is a love story with bite.

The hero-narrator of The Catcher in the Rye is an ancient child of sixteen, a native New Yorker named Holden Caulfield. Through circumstances that tend to preclude adult, secondhand description, he leaves his prep school in Pennsylvania and goes underground in New York City for three days. The boy himself is at once too simple and too complex for us to make any final comment about him or his story. Perhaps the safest thing we can say about Holden is that he was born in the world not just strongly attracted to beauty but, almost, hopelessly impaled on it. There are many voices in this novel: children's voices, adult voices, underground voices-but Holden's voice is the most eloquent of all. Transcending his own vernacular, yet remaining marvelously faithful to it, he issues a perfectly articulated cry of mixed pain and pleasure. However, like most lovers and clowns and poets of the higher orders, he keeps most of the pain to, and for, himself. The pleasure he gives away, or sets aside, with all his heart. It is there for the reader who can handle it to keep. J.D. Salinger's classic novel of teenage angst and rebellion was first published in 1951. The novel was included on Time's 2005 list of the 100 best English-language novels written since 1923. It was named by Modern Library and its readers as one of the 100 best English-language novels of the 20th century. It has been frequently challenged in the court for its liberal use of profanity and portrayal of sexuality and in the 1950's and 60's it was the novel that every teenage boy wants to read.

I hardly know where to begin bashing this book. Do I start with the 9-year-old boy and his 12-year-old sister, who read about 6 and 8, respectively? The imperial measurements (miles, feet) despite the German setting? The German boy, raised in Berlin, who thinks that Der Führer is "The Fury" and Auschwitz is "Out-With," despite being corrected several times and seeing it written down? The other English-language idioms and mis-hearings, despite our being told that he speaks only German? And that he believes that "Heil Hitler!" is a fancy word for hello, because he understands neither "Heil" nor "Hitler"?So maybe these are fussy issues, and I shouldn't trash the book on these minor linguistic flaws. Instead, I can start with the plot holes big enough to drive a truck through: that Bruno, whose father is a high-ranking official in "The Fury"'s regime, doesn't know what a Jew is, or that he's living next door to a concentration camp. Or that the people wearing the "striped pajamas" are being killed, and THAT's why they don't get up after the soldiers stand close to them and there are sounds "like gunshots." Or that there's a section of fence that is (a) unpatrolled and (b) can be lifted from the ground high enough to pass food and, eventually, a small boy through, AND that nobody would try to get OUT through this hole. Or that Bruno's friend Shmuel, a frail 9-year-old boy, would survive over a year in a Nazi camp. Or even the author's refusal to ever use the word "Auschwitz," in an effort to "make this book about any camp, to add a universality to Bruno's experience."That last is from an interview with the author that appears at the end of the audio version. I can't speak to most of what he said, because it was a lot of "here are all the places that are hyping my book," but the worst part of it, to me, was where he was addressing criticisms: "there are people who complain that Bruno is too innocent, too naive, and they are trivializing the message of this book." Um, no. I'm not trivializing the message; I'm objecting to his trivializing of the Holocaust. I find his treatment of the Holocaust to be superficial, misleading, and even offensive.As an audio recording, I'm pretty neutral. The narrator did the best he could with the material and there was some differentiation between the characters' voices, but the music that was added... some chapters ended with appropriately-somber music. Other chapters had no music at all. Sometimes the music appeared in the middle of a chapter. Two other incidental notes: first, normally you can't say anything negative about a Holocaust-themed book without being an asshole, because the books are so tied in with the Holocaust itself. In this case, though, I feel like, due to the fictionalizing of it, the book is far enough removed from Auschwitz that it's okay to be negative about the book without being insensitive about the Holocaust. Second, this doesn't land on my "run away! Save yourself!" shelf, because that's more for books that are comically bad--books that I can bash with glee and mock with abandon. I can't find anything funny about what makes this book so bad; it's just plain offensive and shallow.

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Laia is a slave. Elias is a soldier. Neither is free.   Under the Martial Empire, defiance is met with death. Those who do not vow their blood and bodies to the Emperor risk the execution of their loved ones and the destruction of all they hold dear.   It is in this brutal world, inspired by ancient Rome, that Laia lives with her grandparents and older brother. The family ekes out an existence in the Empire’s impoverished backstreets. They do not challenge the Empire. They’ve seen what happens to those who do.   But when Laia’s brother is arrested for treason, Laia is forced to make a decision. In exchange for help from rebels who promise to rescue her brother, she will risk her life to spy for them from within the Empire’s greatest military academy.   There, Laia meets Elias, the school’s finest soldier—and secretly, its most unwilling. Elias wants only to be free of the tyranny he’s being trained to enforce. He and Laia will soon realize that their destinies are intertwined—and that their choices will change the fate of the Empire itself.From the Hardcover edition.

Download Chapters 1-5 in Shadow and Bone, the much anticipated  new trilogy by debut author Leigh Bardugo.  Surrounded by enemies, the once-great nation of Ravka has been torn in two by the Shadow Fold, a swath of near impenetrable darkness crawling with monsters who feast on human flesh. Now its fate may rest on the shoulders of one lonely refugee. Alina Starkov has never been good at anything. But when her regiment is attacked on the Fold and her best friend is brutally injured, Alina reveals a dormant power that saves his life—a power that could be the key to setting her war-ravaged country free. Wrenched from everything she knows, Alina is whisked away to the royal court to be trained as a member of the Grisha, the magical elite led by the mysterious Darkling.  Yet nothing in this lavish world is what it seems. With darkness looming and an entire kingdom depending on her untamed power, Alina will have to confront the secrets of the Grisha…and the secrets of her heart. 

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Surrounded by enemies, the once-great nation of Ravka has been torn in two by the Shadow Fold, a swath of near impenetrable darkness crawling with monsters who feast on human flesh. Now its fate may rest on the shoulders of one lonely refugee.Alina Starkov has never been good at anything. But when her regiment is attacked on the Fold and her best friend is brutally injured, Alina reveals a dormant power that saves his life—a power that could be the key to setting her war-ravaged country free. Wrenched from everything she knows, Alina is whisked away to the royal court to be trained as a member of the Grisha, the magical elite led by the mysterious Darkling.Yet nothing in this lavish world is what it seems. With darkness looming and an entire kingdom depending on her untamed power, Alina will have to confront the secrets of the Grisha . . . and the secrets of her heart.

This is the way the world ends: with a nanosecond of computer error in a Defense Department laboratory and a million casual contacts that form the links in a chain letter of death. And here is the bleak new world of the day after: a world stripped of its institutions and emptied of 99 percent of its people. A world in which a handful of panicky survivors choose sides -- or are chosen.

This gorgeously imagined YA debut blends shades of Neil Gaiman's Stardust and a breathtaking landscape of Hindu mythology into a radiant contemporary fantasy.The daughter of a star and a mortal, Sheetal is used to keeping secrets. Pretending to be "normal." But when an accidental flare of her starfire puts her human father in the hospital, Sheetal needs a full star's help to heal him. A star like her mother, who returned to the sky long ago.Sheetal's quest to save her father will take her to a celestial court of shining wonders and dark shadows, where she must take the stage as her family's champion in a competition to decide the next ruling house of the heavens--and win, or risk never returning to Earth at all.Brimming with celestial intrigue, this sparkling YA debut is perfect for fans of Roshani Chokshi and Laini Taylor.

Lena Duchannes is unlike anyone the small Southern town of Gatlin has ever seen, and she's struggling to conceal her power, and a curse that has haunted her family for generations. But even within the overgrown gardens, murky swamps and crumbling graveyards of the forgotten South, a secret cannot stay hidden forever.Ethan Wate, who has been counting the months until he can escape from Gatlin, is haunted by dreams of a beautiful girl he has never met. When Lena moves into the town's oldest and most infamous plantation, Ethan is inexplicably drawn to her and determined to uncover the connection between them.In a town with no surprises, one secret could change everything.

The battle for the Crown has begun, but which of the three sisters will prevail?With the unforgettable events of the Quickening behind them and the Ascension Year underway, all bets are off. Katharine, once the weak and feeble sister, is stronger than ever before. Arsinoe, after discovering the truth about her powers, must figure out how to make her secret talent work in her favor without anyone finding out. And Mirabella, once thought to be the strongest sister of all and the certain Queen Crowned, faces attacks like never before—ones that put those around her in danger she can’t seem to prevent.In this enthralling sequel to Kendare Blake’s New York Times bestselling Three Dark Crowns, Fennbirn’s deadliest queens must face the one thing standing in their way of the crown: each other.

When kingdom come, there will be one.In every generation on the island of Fennbirn, a set of triplets is born—three queens, all equal heirs to the crown and each possessor of a coveted magic. Mirabella is a fierce elemental, able to spark hungry flames or vicious storms at the snap of her fingers. Katharine is a poisoner, one who can ingest the deadliest poisons without so much as a stomachache. Arsinoe, a naturalist, is said to have the ability to bloom the reddest rose and control the fiercest of lions.But becoming the Queen Crowned isn’t solely a matter of royal birth. Each sister has to fight for it. And it’s not just a game of win or lose…it’s life or death. The night the sisters turn sixteen, the battle begins.The last queen standing gets the crown. 

This is a world divided by blood - red or silver. The Reds are commoners, ruled by a Silver elite in possession of god-like superpowers. And to Mare Barrow, a seventeen-year-old Red girl from the poverty-stricken Stilts, it seems like nothing will ever change. That is until she finds herself working in the Silver Palace. Here, surrounded by the people she hates the most, Mare discovers that, despite her red blood, she possesses a deadly power of her own. One that threatens to destroy the balance of power. Fearful of Mare's potential, the Silvers hide her in plain view, declaring her a long-lost Silver princess, now engaged to a Silver prince. Despite knowing that one misstep would mean her death, Mare works silently to help the Red Guard, a militant resistance group, and bring down the Silver regime. But this is a world of betrayal and lies, and Mare has entered a dangerous dance - Reds against Silvers, prince against prince, and Mare against her own heart.

In a galaxy powered by the current, everyone has a gift.Cyra is the sister of the brutal tyrant who rules the Shotet people. Cyra’s currentgift gives her pain and power—something her brother exploits, using her to torture his enemies. But Cyra is much more than just a blade in her brother’s hand: she is resilient, quick on her feet, and smarter than he knows.Akos is the son of a farmer and an oracle from the frozen nation-planet of Thuvhe. Protected by his unusual currentgift, Akos is generous in spirit, and his loyalty to his family is limitless. Once Akos and his brother are captured by enemy Shotet soldiers, Akos is desperate to get his brother out alive—no matter what the cost.Then Akos is thrust into Cyra's world, and the enmity between their countries and families seems insurmountable. Will they help each other to survive, or will they destroy one another?Carve the Mark is Veronica Roth's stunning portrayal of the power of friendship—and love—in a galaxy filled with unexpected gifts.

In this breathless third installment to Victoria Aveyard’s bestselling Red Queen series, allegiances are tested on every side. And when the Lightning Girl's spark is gone, who will light the way for the rebellion?Mare Barrow is a prisoner, powerless without her lightning, tormented by her lethal mistakes. She lives at the mercy of a boy she once loved, a boy made of lies and betrayal. Now a king, Maven Calore continues weaving his dead mother's web in an attempt to maintain control over his country—and his prisoner.As Mare bears the weight of Silent Stone in the palace, her once-ragtag band of newbloods and Reds continue organizing, training, and expanding. They prepare for war, no longer able to linger in the shadows. And Cal, the exiled prince with his own claim on Mare's heart, will stop at nothing to bring her back.When blood turns on blood, and ability on ability, there may be no one left to put out the fire—leaving Norta as Mare knows it to burn all the way down.

If there’s one thing Mare Barrow knows, it’s that she’s different.Mare Barrow’s blood is red—the color of common folk—but her Silver ability, the power to control lightning, has turned her into a weapon that the royal court tries to control. The crown calls her an impossibility, a fake, but as she makes her escape from Maven, the prince—the friend—who betrayed her, Mare uncovers something startling: she is not the only one of her kind.Pursued by Maven, now a vindictive king, Mare sets out to find and recruit other Red-and-Silver fighters to join in the struggle against her oppressors. But Mare finds herself on a deadly path, at risk of becoming exactly the kind of monster she is trying to defeat. Will she shatter under the weight of the lives that are the cost of rebellion? Or have treachery and betrayal hardened her forever?The electrifying next installment in the Red Queen series escalates the struggle between the growing rebel army and the blood-segregated world they’ve always known—and pits Mare against the darkness that has grown in her soul.

Jack Torrance's new job at the Overlook Hotel is the perfect chance for a fresh start. As the off-season caretaker at the atmospheric old hotel, he'll have plenty of time to spend reconnecting with his family and working on his writing. But as the harsh winter weather sets in, the idyllic location feels ever more remote...and more sinister. And the only one to notice the strange and terrible forces gathering around the Overlook is Danny Torrance, a uniquely gifted five-year-old.

Homescapes is a free-to-play video game released by Playrix in September, 2017. The game is available on iOS, Android and Amazon Appstore. Homescapes is a Gardenscapes spin-off and shares the same gameplay concept, combining traditional match-3 mechanics with a well-developed storyline. The game’s protagonist is also the same: Austin the Butler.The story revolves around Austin, who feels homesick and moves back home with his parents, Olivia and William.He is in for a rude awakening when his parents tell him that they are selling the family mansion, which is in poor condition. They feel that it would be too costly to renovate it, and due to their old age, they are unable to do so. Nevertheless, Austin tries to convince his parents not to sell it, and gladly volunteers to restore his ancestral home (with the help of the player) to its former glory.

Tells the story of Benjamin Button, a man who starts aging backwards with consequences.

A mother personally challenges the local authorities to solve her daughter's murder when they fail to catch the culprit.

Three girls are kidnapped by a man with a diagnosed 23 distinct personalities. They must try to escape before the apparent emergence of a frightful new 24th.

After his son is captured in the Great Barrier Reef and taken to Sydney, a timid clownfish sets out on a journey to bring him home.

A kind-hearted street urchin and a power-hungry Grand Vizier vie for a magic lamp that has the power to make their deepest wishes come true.

Homicide detective John Hobbes witnesses the execution of serial killer Edgar Reese. Soon after the execution, the killings start again, and they are very similar to Reese's style.

1998 supernatural thriller film, directed by Gregory Hoblit

In 1970s Los Angeles, a mismatched pair of private eyes investigate a missing girl and the mysterious death of a porn star.

A bride's wedding night takes a sinister turn when her eccentric new in-laws force her to take part in a terrifying game.

2019 film by Matt Bettinelli-Olpin and Tyler Gillett

Healthcare professionals, government officials and everyday people find themselves in the midst of a pandemic as the CDC works to find a cure.

Loosely based on the true story of two young men, David Packouz and Efraim Diveroli, who won a three hundred million dollar contract from the Pentagon to arm America's allies in Afghanistan.

In the sequel to 2018's THE KISSING BOOTH, high school senior Elle juggles a long-distance relationship with her dreamy boyfriend Noah, college applications, and a new friendship with a handsome classmate that could change everything

A high school student is forced to confront her secret crush at a kissing booth.

The real story behind the myth of American icon Robert 'Evel' Knievel and his legacy.

A young woman falls for a guy with a dark secret and the two embark on a rocky relationship. Based on the novel by Anna Todd.

2019 film by Jenny Gage based on the book by Anna Todd

A widow investigates an insurance fraud, chasing leads to a pair of Panama City law partners exploiting the world's financial system.

Trying to put her life back together after her husband's death, Libby and her children move to her estranged aunt's goat farm in central Texas.

Follows the adventures of Aang, a young successor to a long line of Avatars, who must master all four elements and stop the Fire Nation from enslaving the Water Tribes and the Earth Kingdom.

2010 action-adventure film by M. Night Shyamalan

Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn), also known as Harley Quinn: Birds of Prey or simply Birds of Prey, is a 2020 American superhero film based on the DC Comics team, the Birds of Prey. Produced by Warner Bros. Pictures, DC Films, LuckyChap Entertainment, Clubhouse Pictures, and Kroll & Co. Entertainment, and distributed by Warner Bros. Pictures, it is the eighth installment in the DC Extended Universe (DCEU), and serves as a spin-off and sequel to Suicide Squad (2016). It was directed by Cathy Yan and written by Christina Hodson, and stars Margot Robbie as Harley Quinn alongside Mary Elizabeth Winstead, Jurnee Smollett-Bell, Rosie Perez, Chris Messina, Ella Jay Basco, Ali Wong, and Ewan McGregor. The film follows Harley Quinn, who, after breaking up with the Joker, is threatened by Gotham City crime lord Roman Sionis, and joins forces with Helena Bertinelli, Dinah Lance and Renee Montoya (who go on to form the Birds of Prey) to save Cassandra Cain.

When a woman learns of an immortality treatment, she sees it as a way to outdo her long-time rival.

Security guard Richard Jewell is an instant hero after foiling a bomb attack at the 1996 Atlanta Olympics, but his life becomes a nightmare when the FBI leaks to the media that he is a suspect in the case.

2019 American biographical drama film by Clint Eastwood

Les Misérables (; French pronunciation: ​[le mizeʁabl(ə)]), colloquially known as Les Mis or Les Miz (), is a sung-through musical adaptation of Victor Hugo's 1862 novel of the same name, by Claude-Michel Schönberg (music), Alain Boublil and Jean-Marc Natel (original French lyrics), and Herbert Kretzmer (English lyrics). The original French musical premiered in Paris in 1980 with direction by Robert Hossein. Its English-language adaptation by producer Cameron Mackintosh has been running in London since October 1985, making it the longest-running musical in the West End and the second longest-running musical in the world after the original Off-Broadway run of The Fantasticks.Set in early 19th-century France, Les Misérables is the story of Jean Valjean, a French peasant, and his desire for redemption, after serving nineteen years in jail for stealing a loaf of bread for his sister's starving child. Valjean decides to break his parole and start his life anew after a bishop inspires him by a tremendous act of mercy, but he is being tracked down by a police inspector named Javert. Along the way, Valjean and a slew of characters are swept into a revolutionary period in France, where a group of young idealists attempt to overthrow the government at a street barricade in Paris.

The Bear is an American comedy-drama television series created by Christopher Storer. It premiered on Hulu on June 23, 2022, and stars Jeremy Allen White, Ebon Moss-Bachrach, Ayo Edebiri, Lionel Boyce, Liza Colón-Zayas, and Abby Elliott. The series received critical acclaim. On July 14, 2022, it was renewed for a second season.The sandwich shop interior is copied from the real-live Chicago shop Mr. Beef on Orleans, in River North. The creator was a frequent patron and friends with the son of the owner.A young chef from the world of fine dining comes home to Chicago to run his family's Italian beef sandwich shop after the suicide of his older brother, who left behind debts, a rundown kitchen, and an unruly staff.

Follows a group of teachers brought together in one of the worst public schools in the country, simply because they love teaching.

The story of the House Targaryen set 300 years before the events of Game of Thrones (2011).

Investigators are confounded over an unspeakable crime that's been committed.

Three sisters discover their destiny, to battle against the forces of evil, using their witchcraft. They are the Charmed Ones.

American supernatural drama / fantasy television series (1998–2006)

A young woman, destined to slay vampires, demons and other infernal creatures, deals with her life fighting evil, with the help of her friends.

1997 American supernatural drama TV series

Diana Bishop, historian and witch, accesses Ashmole 782 and knows she must solve its mysteries. She is offered help by the enigmatic Matthew Clairmont, but he's a vampire and witches should never trust vampires.

A group of teenagers from the wrong side of the tracks stumble upon a treasure map that unearths a long buried secret.

American teen drama web television series on Netflix

Dark forces conspire against orphan mapmaker Alina Starkov when she unleashes an extraordinary power that could change the fate of her war-torn world.

A financial advisor drags his family from Chicago to the Missouri Ozarks, where he must launder money to appease a drug boss.

A ranching family in Montana faces off against others encroaching on their land.

The series will focus on the first generation to grow up during the zombie apocalypse.

American post-apocalyptic horror drama television limited series

A Walking Dead spinoff set in Los Angeles, California. Follows two families who must band together to survive the undead apocalypse.

American post-apocalyptic horror drama television series

The apparently perfect lives of upper-class mothers, at a prestigious elementary school, unravel to the point of murder when a single-mother moves to their quaint Californian beach town.

Seeking a fresh start, nurse practitioner Melinda Monroe moves from Los Angeles to a remote Northern California town and is surprised by what and who she finds.

American romance drama web television series

A young African-American travels across the U.S. in the 1950s in search of his missing father.

Anthology series that examines how and why ordinary people commit brutal crimes.

2017 American crime drama television series

An English combat nurse from 1945 is mysteriously swept back in time to 1743.

A young girl is destined to liberate her world from the grip of the Magisterium which represses people's ties to magic and their animal spirits known as daemons.

A modern twist to a classical "whodunnit" tale, when the life of a wealthy New York therapist turns upside down after she and her family get involved with a murder case.

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