Out of respect for the dead, this story has been told exactly how it happened. I was born in 1985 in Lancashire, England, to two alcoholic parents. Having selfish parents left me exposed to abuse, poverty and crime. My loving grandparents helped me the best they could at the weekends, but life was barely survivable. Spending most of my life on a rough estate, bad influence pulled me between good and evil. Falling in love during a life of hell, my heart filled like a balloon that carried me to a greater good. What you will read is no sweet lullaby. It will repulse and shock you. I fought with every ounce of strength to survive with betrayal and evil around every corner.

    After Cannan's conviction, the Lamplugh case was closed. Yet to this day, Cannan denies his involvement in the Lamplugh case and protests his innocence in the murder of Shirley Banks—his appeal has been dismissed. Drawing on the latest psychological profiling knowledge developed in America by the FBI and, most importantly, an intense three-year correspondence with Cannan, this book provides a chillingly personal and comprehensive portrait of a complex and intelligent man.

    Introduction by Jesse Sheidlower; illustrations by Arnold Roth.

    Equipped with the power to become the best merchant, our hero ventures forth in an adventure unlike any other. The Merchant System-3rd edition— revised and reformatted (9/30/2018) Jacob Rolfe's life took a turn for the worse after being abandoned at a very young age. Persecuted by his home village and cursed by misfortune, the only fortunate turn in his melancholic existence appeared when he became a slave to a noble house. Good things didn't last for Jacob, though. One fateful day– his short, sad life ended at the tender age of 14. But even death wasn't the end of it for him. Awakening, Jacob feels just the same as ever, except for one minor change... "Ding... System Initializing... Now activating the [Merchant's Hack]."

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    At the heart of the story is a Quaker family, who hide the boy after his landing party has been killed in an ambush. Because the captain of the Hessians had ordered the hanging of a local whom he thought might be a spy, the town militia lay in wait, massacred the Hessians, and hunted down the only survivor, Hans Pohl. His capture and trial provide an opportunity to explore the difficult moral position that war presents, complicated by the presence of the Quaker family. The story is told from the point of view of Evan Feversham, a doctor who has seen enough of death, and an outsider in the narrow world of Puritan New England. Based on a true event.

    Within these pages meet love goddesses and disease demons, guardians of children and guardians of cadavers. Discover Celtic goddesses and goddesses of the Kabbalah, female Buddhas, African Powers, Dragon Ladies, White Ladies, Black Madonnas, the Green Man, the Green Fairy, lots and lots of ghosts, djinn, mermaids, fairies, and more. From the beneficent to the mischievous, working with these spirits can bring good fortune, lasting love, health, fertility, revenge, and relief. Discover:The true identities of over one thousand spirits (as well as their likes and dislikes)How to communicate with specific spirits for your own benefitHow to recognize these spirits when they manifest themselvesThe mythological and historical events associated with specific spiritsThe colors, days, numbers, and astrological signs associated with specific spiritsThe Encyclopedia of Spirits also provides an overview of the role of spirit communication throughout history and a general guide to working with spirits. No matter what your life's problems or desires, this book can guide you to the right spirits who can help fulfill your dreams. For the spiritual adept, the amateur, or the simply curious, the Encyclopedia of Spirits will inform, inspire, and delight.

    Arguing that the sources for the ancient druids are too few and unreliable to establish any certainties, Hutton reverses the traditional balance of interest to look at the many ways in which Druids have been imagined in Britain since 1500.

    CDL51663

    Most of it was written between 1915 and 1962, although much of the early work was abandoned and the early cantos, as finally published, date from 1922 onwards. It is a book-length work, widely considered to be an intense and challenging read. The Cantos is generally considered one of the most significant works of modernist poetry in the 20th century. As in Pound's prose writing, the themes of economics, governance and culture are integral to the work's content.The most striking feature of the text, to a casual browser, is the inclusion of Chinese characters as well as quotations in European languages other than English. A close reader will normally require a scholarly commentary to help understand the text. The range of allusion to historical events is broad, and abrupt changes occur with little transition.There is also wide geographical reference. Pound added to his earlier interests in the classical Mediterranean culture and East Asia selective topics from medieval and early modern Italy and Provence, the beginnings of the United States, England of the 17th century, and details from Africa he had obtained from Leo Frobenius. Many references in the text lack explanation. Pound initially believed that he possessed poetic and rhetorical techniques which would themselves generate significance, but as time passed he became more concerned with the messages he wished to convey.The section he wrote at the end of World War II, begun while he was interned in American-occupied Italy, has become known as The Pisan Cantos. It was awarded the first Bollingen Prize in 1948. There were many repercussions, since this in effect honoured a poet who was under indictment for treason. :::Delmore Schwartz said about The Cantos, "They are one of the touchstones of modern poetry." William Carlos Williams said, "[Pound] discloses history by its odor, by the feel of it—in the words; fuses it with the words, present and past, to MAKE his Cantos. Make them."Since the 1969 revised edition, the Italian Cantos LXXII and LXXIII (as well as a 1966 fragment concluding the work) have been added. Now appearing for the first time is Pound's recently found English translation of Italian Canto LXXII.

    And it's a snip at the price! Fans of Douglas Lindsay's genre-defining barbershop death junky novels will be delighted to know that THE BARBERSHOP SEVEN includes the complete, unabridged text from the following Barney Thomson novels:#1 THE LONG MIDNIGHT OF BARNEY THOMSON#2 THE BARBER SURGEON'S HAIRSHIRT#3 MURDERERS ANONYMOUS#4 THE RESURRECTION OF BARNEY THOMSON#5 THE LAST FISH SUPPER#6 THE HAUNTING OF BARNEY THOMSON#7 THE FINAL CUTPraise for the Barney Thomson novels"This chilling black comedy unfolds at dizzying speed... an impressive debut novel." – Sunday Mirror"The plot, Russian literature fans, is a modern spin on Dostoyevsky’s Crime and Punishment. The bloody ending, movie buffs, is pure Reservoir Dogs." – The Mirror"This is pitch-black comedy spun from the finest writing. Fantastic plot, unforgettable scenes and plenty of twisted belly laughs." – New Woman"A mad, macabre romp with surreal characters and cutting black humour." – The Sunday Mirror"Gloriously over the top, very bloody and very, very funny." – Daily Telegraph"A novel which is both genuinely silly and a fun read." – The Scotsman"Extremely well-written, highly amusing and completely unpredictable in its outrageous plot twists and turns." – The List"Lindsay’s burlesque thrills offer no sex, no drugs, no desperation to be cool. Just straightforward adult story; fantastic plot, classic timing and gleeful delight in the grotesque. With more talent than Irvine Welsh could dream of, Lindsay has crafted a macabre masterpiece where content lives up to style." – What’s On About the author Douglas Lindsay is the author of the Barney Thomson crime series, which begins with THE LONG MIDNIGHT OF BARNEY THOMSON. He is also the author of the thriller, LOST IN JAUREZ, as well as the police procedurals, THE UNBURIED DEAD (Thomas Hutton #1), A PLAGUE OF CROWS (Thomas Hutton #2) and WE ARE THE HANGED MAN (DCI Jericho #1). Douglas lives in Somerset.

    Lights are dimmed. The musical is about to begin. As the beautiful princess descends on stage, the mythical creatures from her kingdom come alive. Flickers of brilliant colours blaze across as mesmerizing music pulsates from one corner of the theatre to the other. A fairy tale is about to unfold... As young children, we often come across things that stay in our hearts forever. For Appu, it is a fairy tale about a beautiful princess.He lives with her in a world filled with the magical creatures from her kingdom until the real world beckons. A reluctant Appu steps into it as a striking young man and struggles to find his place. What follows is an evocative tale of love and loss, friendship and betrayal, as the story travels through the snow-peaked mountains of Arunachal to the golden deserts of Jaisalmer, the tulip gardens of Holland to the lush greens of Kerala. Does Appu find what he had set out for? The answer lies in Rafflesia - The Banished Princess because in her story, lay his!

    So when her boss cuts her wages and takes on his neice Anita to share commissions with her, it's quite a blow. And that is just the start of her ordeal as her friends fall away and her world unravels.

    Gradually it seems possible that there is a link between an ancient treasure that Robert's father spent many years searching for and the tragic events surrounding Alex's grandmother during the Second World War.But the beautiful tranquillity of the island is deceptive. Suddenly Alex vanishes, and Robert is embroiled in a desperate search, for the woman and for the solution that had evaded his father. To find the truth he must come to understand his own past and learn to face the troubled relationships that have dominated his life.Atmospheric, tense and compelling, this blend of classical myth with ancient and recent history creates a memorable and thrilling novel.

    Read the twelve Holiday Cottage books in this series....Book 1) Evergreen CottageShay Martin has been collecting houses and buildings for her Christmas Villages since she was a child, but this year, she has a specific looking cottage in mind. While searching for just the right addition for her collection, she finds a picture of the perfect Evergreen Cottage. However, on further research she finds the photo is of a real cottage at Sprucewood, Colorado’s Holiday Cottages Farm.Shay had already decided to travel for the holidays to get away from sad memories and a just be alone. The Holiday Cottages Farm looks like the perfect place. Shay hopes to find a replica of the Evergreen Cottage for her collection in the Holiday Cottage’s Gift Store. After meeting the dark rugged, trail ride instructor, she's no longer sure she wants to be completely alone for the season or that she ever wants to go back to her boring job and friendless life, however, she knows he needs to deal with the young woman in his life right now, named Cat.Dixon Jones wants nothing more than to spend his days enjoying the Christmas activities in Sprucewood and running the winter sleigh rides at the Holiday Cottages Farm. Against his own self-imposed rules of ‘never get involve with a guest’ he finds himself attracted to Shay and wants to share all the holiday events that Sprucewood has to offer with her, but first he needs to deal with the uncooperative woman named Cat.