![]() ![]() We should have some good hunting up the Amazon. I hope the jaguar guns have come from Purdey's. ![]() "Ugh! It's like moist black velvet." "It will be light in Rio," promised Whitney. "You've good eyes," said Whitney, with a laugh, "and I've seen you pick off a moose moving in the brown fall bush at four hundred yards, but even you can't see four miles or so through a moonless Caribbean night." "Nor four yards," admitted Rainsford. Some superstition-" "Can't see it," remarked Rainsford, trying to peer through the dank tropical night that was palpable as it pressed its thick warm blackness in upon the yacht. "A suggestive name, isn't it? Sailors have a curious dread of the place. "The old charts call it 'Ship-Trap Island,'" Whitney replied. Read the excerpt from "The Most Dangerous Game," by Richard Connell. ![]()
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![]() ![]() Since key points aren’t as clear, this unfortunately can’t function as an alternative or as an entry point to the novel instead, consider this a solid supplement that uses textual variations and compelling art to add layers of discussion-worthy complexity. Adaptor Sims’ poetic revisions take some license with the text, some of which work better than others, but the underlying rhythm of the narrative remains. The main conflict of Walter Dean Myers book, Monster, is about a teen accused of murder trying to clear his name in both the legal and social settings. ![]() Likewise, scene transitions and various framing techniques mirror the cinematic intent of the novel’s initial style and give readers a chance to consider the kind of film that may have emerged from the draft Steve writes during the trial. ![]() Illustrator Anyabwile’s grayscale panels skillfully convey the intensity and stark emotion of Myers’ evocative prose, most notably in the use of close-ups to render the deeply personal nature of the story. The groundbreaking story of Steve Harmon, a teen grappling with his sense of self while on trial for murder, survives the translation process surprisingly well, especially given the loss of the novel’s memorable storytelling format, with its combination of handwritten journal and movie script. Walter Dean Myers’ award-winning classic Monster (BCCB 5/99) gets the graphic novel treatment here, with an adaptation that is likely to please fans of the original. ![]() ![]() ![]() At the manor, Atticus discovers his father in chains, held prisoner by a secret cabal named the Order of the Ancient Dawn-led by Samuel Braithwhite and his son Caleb-which has gathered to orchestrate a ritual that shockingly centers on Atticus. Braithwhite-heir to the estate that owned one of Atticuss ancestors-they encounter both mundane terrors of white America and malevolent spirits that seem straight out of the weird tales George devours. ![]() When his father Montrose goes missing, 22-year-old Army veteran Atticus Turner embarks on a road trip to New England to find him, accompanied by his Uncle George-publisher of The Safe Negro Travel Guide-and his childhood friend Letitia. Abrams (Executive Producer of Westworld), Misha Green (Creator of Underground) and Jordan Peele (Director of Get Out) The critically acclaimed cult novelist makes visceral the terrors of life in Jim Crow America and its lingering effects in this brilliant and wondrous work of the imagination that melds historical fiction, pulp noir, and Lovecraftian horror and fantasy. Book Synopsis Now an HBO(R) Series from J.J. kaleidoscopic portrait of racism-the terrifying specter that continues to haunt us today- of cover. ![]() About the Book A chimerical blend of magic, power, hope, and freedom that stretches across time, touching diverse members of two black families, is a. ![]() ![]() After all, Tales of the City remains the first proper home of generations of LGBT+ people. Sometimes it’s doing its best a bit too hard, which I guess is to be expected when the stakes are this high and the original – both books and mini-series – this fiercely loved. ![]() We’re still people aren’t we? Flawed, narcissistic and doing our best.”Īs for Lauren Morelli’s respectful reimagining of Tales of the City, executive produced by Armistead Maupin and the result of an all-queer writers’ room, it’s … flawed, narcissistic and doing its best. “Hmmm,” replies the original house mother, straight to camera, in that fabulously bone-dry, bone-loving slooooow tone that only Olympia Dukakis – OLYMPIA DUKAKIS! – can pull off. ![]() H ow much has San Francisco changed since the 60s? This is the question posed to Anna Madrigal – ANNA MADRIGAL! – in the opening frames of Netflix’s Tales of the City reboot. ![]() |