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The author of the celebrated memoir Blue Blood (“May be the best account ever written of life behind the badge.” —Time) delivers a mesmerizing, relentless thriller that rings with the truth of what it takes to be an NYPD detective. Nick Meehan is introspective, haunted, and burned out on the Job. He is transferred to a squad in the upper reaches of Manhattan and paired with Esposito—a hungry, driven cop who has mostly good intentions but trouble following the rules. The two develop a fierce friendship that plays out against a tangle of mysteries: a hanging in a city park, a serial rapist at large, a wayward Catholic schoolgirl who may be a victim of abuse, and a savage gang war that erupts over a case of mistaken identity. Red on Red captures the vibrant dynamic of a successful police partnership—the tests of loyalty, the necessary betrayals, the wedding of life and work. Conlon is a natural and perceptive storyteller, awake to the ironies and compromises of life on the Job and the beauty and brutality of the city itself.
How can a square peg fit into a round hole? It can't. How can a door be unlocked with a pencil? It can't. How can Native literature be read applying conventional postmodern literary criticism? It can't. That is Craig Womack's argument in Red on Red. Indian communities have their own intellectual and cultural traditions that are well equipped to analyze Native literary production. These traditions should be the eyes through which the texts are viewed. To analyze a Native text with the methods currently dominant in the academy, according to the author, is like studying the stars with a magnifying glass. In an unconventional and piercingly humorous appeal, Womack creates a dialogue between essays on Native literature and fictional letters from Creek characters who comment on the essays. Through this conceit, Womack demonstrates an alternative approach to American Indian literature, with the letters serving as a "Creek chorus" that offers answers to the questions raised in his more traditional essays. Topics range from a comparison of contemporary oral versions of Creek stories and the translations of those stories dating back to the early twentieth century, to a queer reading of Cherokee author Lynn Riggs's play The Cherokee Night. Womack argues that the meaning of works by native peoples inevitably changes through evaluation by the dominant culture. Red on Red is a call for self-determination on the part of Native writers and a demonstration of an important new approach to studying Native works -- one that engages not only the literature, but also the community from which the work grew.
As Turtle rushes through town, in a hurry to see something "red, red, red," his neighbors wonder what it could be and hurry after him to find out.
NEW YORK TIMES BESTSELLER • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY ENTERTAINMENT WEEKLY, BUZZFEED, AND SHELF AWARENESS “Ender, Katniss, and now Darrow.”—Scott Sigler Pierce Brown’s relentlessly entertaining debut channels the excitement of The Hunger Games by Suzanne Collins and Ender’s Game by Orson Scott Card. “I live for the dream that my children will be born free,” she says. “That they will be what they like. That they will own the land their father gave them.” “I live for you,” I say sadly. Eo kisses my cheek. “Then you must live for more.” Darrow is a Red, a member of the lowest caste in the color-coded society of the future. Like his fellow Reds, he works all day, believing that he and his people are making the surface of Mars livable for future generations. Yet he spends his life willingly, knowing that his blood and sweat will one day result in a better world for his children. But Darrow and his kind have been betrayed. Soon he discovers that humanity reached the surface generations ago. Vast cities and lush wilds spread across the planet. Darrow—and Reds like him—are nothing more than slaves to a decadent ruling class. Inspired by a longing for justice, and driven by the memory of lost love, Darrow sacrifices everything to infiltrate the legendary Institute, a proving ground for the dominant Gold caste, where the next generation of humanity’s overlords struggle for power. He will be forced to compete for his life and the very future of civilization against the best and most brutal of Society’s ruling class. There, he will stop at nothing to bring down his enemies . . . even if it means he has to become one of them to do so. BONUS: This edition includes an excerpt from Pierce Brown's Golden Son. Praise for Red Rising “[A] spectacular adventure . . . one heart-pounding ride . . . Pierce Brown’s dizzyingly good debut novel evokes The Hunger Games, Lord of the Flies, and Ender’s Game. . . . [Red Rising] has everything it needs to become meteoric.”—Entertainment Weekly “[A] top-notch debut novel . . . Red Rising ascends above a crowded dystopian field.”—USA Today “Red Rising is a sophisticated vision. . . . Brown will find a devoted audience.”—Richmond Times-Dispatch “A story of vengeance, warfare and the quest for power . . . reminiscent of The Hunger Games and Game of Thrones.”—Kirkus Reviews “Fast-paced, gripping, well-written—the sort of book you cannot put down. I am already on the lookout for the next one.”—Terry Brooks, New York Times bestselling author of The Sword of Shannara “Pierce Brown has done an astounding job at delivering a powerful piece of literature that will definitely make a mark in the minds of readers.”—The Huffington Post “Compulsively readable and exceedingly entertaining . . . a must for both fans of classic sci-fi and fervent followers of new school dystopian epics.”—Examiner.com “[A] great debut . . . The author gathers a spread of elements together in much the same way George R. R. Martin does.”—Tor.com
Presents the Swiss psychologist's thoughts, experiences, and everything he felt after a period of time spent seeing visions, hearing voices, and inducing hallucinations.
November 2009. An emaciated young lawyer, Sergei Magnitsky, is led to a freezing isolation cell in a Moscow prison, handcuffed to a bed rail, and beaten to death by eight police officers. His crime? To testify against the Russian Interior Ministry officials who were involved in a conspiracy to steal $230 million of taxes paid to the state by one of the world’s most successful hedge funds. Magnitsky’s brutal killing has remained uninvestigated and unpunished to this day. His farcical posthumous show-trial brought Putin's regime to a new low in the eyes of the international community. Red Notice is a searing exposé of the wholesale whitewash by Russian authorities of Magnitsky’s imprisonment and murder, slicing deep into the shadowy heart of the Kremlin to uncover its sordid truths. Bill Browder – the hedge fund manager who employed Magnitsky – takes us on his explosive journey from the heady world of finance in New York and London in the 1990s, through his battles with ruthless oligarchs in the turbulent landscape of post-Soviet Union Moscow, to his expulsion from Russia on Putin’s orders. Browder’s graphic portrait of the Russian government as a criminal enterprise wielding all the power of a sovereign state illuminates his personal transformation from financier to human rights activist, campaigning for justice for his late lawyer and friend. With fraud, bribery, corruption and torture exposed at every turn, Red Notice is a shocking but true political roller-coaster that plays out in the highest echelons of Western power.

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