Hopping over the Rabbit Hole tải về miễn phí cuốn sách

Ihering Alcoforado ihering — an accessible epic, like the salad bar at the Sizzler. social commentary, action, blood n guts, heart, everything to engross and satisfy. bonus- Indian author, which makes one sound worldly in discussions.

Demetri Koutsopanagos _aughtyafter9 — Really liked this better than her last one in this series.

Neil Padayachee _eil_adayachee — With all the hype about this book, I really wanted it to be great. But the unfortunate truth is, I just didn't care about the main characters. The writing wasn't bad, and the plot wanted to be exciting, but Tris was . . . forgettable. (view spoiler) I wanted to quit halfway through, but I'd already put in the time and I did want to see how it turned out. I think I'll skip the rest of the series, though.

Pinky Shalom cephalopod4740 — Third in series featuring Harry Bosch. And one of Connelly's best. If you don't mind reading out of order start here.

Maurizio Bianco mauriziobi5ff2 — 4.5 stars bumped to 5, because of the entertainment factor. It's my third book by Angel Martinez and I greatly admire her quality of writing and plotting.

Mohammed Wael _ohammed_na_designer — Cormac McCarthy’s recent novels have featured monosyllabic men as main characters: John Grady Cole. Billy Parham. Llewelyn Moss. The protagonist of The Road, an unnamed father who survives the apocalypse, shares many similarities with Cole, Parham, and Moss. The word forthcoming, for instance, certainly does not describe the man, but The Road, unlike other McCarthy novels, including The Border Trilogy and No Country for Old Men, contrasts sharply in one significant way: the man shows emotions in ways Cole, Parham, and Moss do not. McCarthy states, “There were times when he sat watching the boy sleep that he would begin to sob uncontrollably but it wasnt about death. He wasnt sure what it was about but he thought it was about beauty or about goodness. Things that he’d no longer any way to think about at all.” The Road is a novel concerned with contrasts. There are good guys, but mostly there are bad guys. There is survival, but mostly there is death. I read The Road in April, 2009, two and a half years after its publication. By that point, many of my friends---intelligent readers whose opinions I value---had already finished The Road. The feedback I heard was consistent: It’s brilliant, but it’s a brutal, devastating story…one that’s so bleak that it’s a challenge to finish. I do not share this sentiment, although I recognize the point of view. Violence, suffering, and death permeate every page of The Road. At its core, though, the narrative is about the love between a father and son. This pronounced love is unsentimental yet simultaneously moving, and tenderness---the imperative need to care for someone---is another characteristic that distinguishes The Road from recent McCarthy novels. Early in the novel McCarthy writes: “There is no later. This is later. All things of grace and beauty such that one holds them to one’s head have a common provenance in pain. Their birth in grief and ashes. So, he whispered to the sleeping boy. I have you.” The Road’s message is not one of salvation (despite the fact that the boy is an undeniable Christ figure) but of survival. It’s easy to read the novel and focus on the destruction, the grotesqueness, and the bleakness, but the compassion the man shows for his son is what ultimately makes The Road more palatable to a mass audience.