Ánh Sáng Vô Hình tải về miễn phí cuốn sách

Mohammad Samhouri msamhouri2d459 — Three-and-a-half stars. Very different from Marley and Me. After the first few chapters, I was convinced I would not like this book. The author has decided that this first year with her dog will be some sort of social experiment in seeing nature in a different way--through the eyes and experiences of her dog. She constantly refers to Ari as "the caninaturalist," which is a bit annoying. And boy, does she go off on tangents! When she chases after Ari in the woods and discovers her eating a deer carcass, she goes through an entire song and dance of, "Why does my animal want to eat deer guts?" "What part of the guts taste best?" and goes into a short history of people eating animals, how the organs are similar to that of humans', etc. etc. Finding a dead animal on the side of the road launches into a description of the six stages of a body decomposing, phone calls to transportation departments to ask questions about how they handle roadkill, etc. Some of these tangents are very interesting, some just exasperating, as in, "Just enjoy taking a walk with your dog!" All in all, I liked it, and found the author somewhat a likeable character.

Pame Pinto pintorojas — The writer, who wrote under a pseudonym, just died yesterday & only when I read her obituary in the Oregonian did I realize that she is a woman I worked with, knew & corresponded with for some years. I just ordered her book today. I just finished this funny high school boy story about decisions both good and bad. I really enjoyed it, but found some of the latter part of the book a little farfetched--too many problems in too little space. That said, the author nails the voice--refreshing, candid and full of wit which would appeal to sophomores of all stripes. For me, much of the joy in reading this book was in hearing an old friend's voice and humor brought forth in a published, awarded book. She was so justifiably proud.

Humberto Viramontes novemesi1446 — I laughed out loud, guffawed and haw-hawd at Crumb's hilarious drawings of R. Crumb, and best of all, I really gotto thinking about something.

Tommy Mcguire tommymcguire — A fantastic book with absorbing characters who you can easily emphasise with or begin to hate. A touching account of racial discrimination and sad to realise that this is only set less than fifty years ago.

Jessica Van jessica89 — There's an amazing mix of childlike awe and dread in this short story collection. It very distictly reminded me of the feeling I used to get reading Stephen King's short story collections as a kid. King has written about his love of Bradbury, but the similarities have never jumped out at me as loudly as when I opened the pages of "The Illustrated Man" Most of the stories are set in a future that is at once familiar and fantastical. Bradbury wrote these works in the late 40s and 50s, so there are many precitions about what life will be like in the future. To a sci-fi writer from 1940, this involved lots of inter-planetary rocket travel and automated home appliances. Most of this isn't scientifically practical (I love how casually humans are just ho-humming around picking flowers and whatnot on the surface of Mars), but it doesn't matter since the spirit of wonder and horror are the real showstoppers in this collection. You can almost see little Stevie King reading wide-eyed stories such as "The Veldt", "The Long Rain", "Marionettes, Inc.", and "Zero Hour", and being inspired to write the subtle horror of his adulthood. These stories are creepy because they look at the disturbing shadows underlying our mundane lives. "The Concrete Mixer" was a welcome bit of comedy as a Martian Invasion is seen from the point of view of the Martians. A critical eye is cast on humanity and its destructive nature are seen in "The Visitor" and "The Other Foot". And then there is Bradbury's ever-present whimsy of a father trying to make good by his kids in stories like "The Rocket Man" and "The Rocket". I was even surprised to see stories with some religious overtones in stories like "The Fire Balloons" and "The Man". And I have a special place in my heart for the existential "Kaleidoscope", which I'm currently directing as a one act play (which was adapted into a play by Bradbury himself!) Bradbury's sandbox for this collection is actually pretty small. Mostly aboard rockets or the surfaces of Mars and a few other planets. But within these confines, Bradbury offers up a satisfying variety of lessons and insights.