Words That Kill


Book Description

Words That Kill is a collection of poetry about one's breaking point. Themes included are depression, anxiety, abuse, body dysmorphic disorder, hope, and love. The collection is split into three chapters, Sticks and Stones, which deals with the rise of the Words That Kill, followed with Last Breath, the climax of the breaking point, and lastly, I See the Light, which deals with hope and love surrounding the darkness of the pain caused by the Words That Kill.




Words Kill


Book Description

When Communist revolutionaries seized control of Mainland China in 1949, they faced enormous challenges of state and nation building. China occupied a vast territory, had a huge and poorly integrated population and suffered from a woefully backward economy. Building a Socialist Chinese state required effectively managing significant opposition to the imposition of the Communist regime. This study examines how the Chinese Communist Party employed language as an essential part of its strategy to achieving these goals.




Lexicon


Book Description

"About as close you can get to the perfect cerebral thriller: searingly smart, ridiculously funny, and fast as hell. Lexicon reads like Elmore Leonard high out of his mind on Snow Crash." —Lev Grossman, New York Times bestselling author of The Magicians and The Magician King “Best thing I've read in a long time . . . a masterpiece.” —Hugh Howey, New York Times bestselling author of Wool Stick and stones break bones. Words kill. They recruited Emily Ruff from the streets. They said it was because she's good with words. They'll live to regret it. They said Wil Parke survived something he shouldn't have. But he doesn't remember. Now they're after him and he doesn't know why. There's a word, they say. A word that kills. And they want it back . . .




Words Kill


Book Description

Famed reporter Russell Blaze is dead. It appears to be an accident, but after Russ’s funeral, his son, Cody, finds a letter in which his father explains that the death may have been murder. It directs Cody to Russ’s unfinished memoir for clues as to what may have happened. The opening words are: On the night of October 16, 1968, I uttered a sentence that would haunt me for the rest of my life. The sentence was, “Someone should kill that motherfucker.” As Cody delves into the memoir, a window opens into a tragic past and thrusts the still-burning embers of another time’s radical violence into the political reality of the present. History that once seemed far away becomes a deeply personal immersion for Cody into the storied heyday of the Haight: drugs, sex, war protesters, right-wing militias, ground-breaking journalism—and the mysterious Gloria, who wanders into his father’s pad one day to just “crash here for a while until things calm down.” Cody discovers aspects of his father’s life he never knew, and slowly begins to understand the significance of those words his father spoke in 1968. Words Kill is a story of loss, violence, and racism; love, hate, and discovery. It is a story of then . . . and now.




One Word Kill


Book Description

Ready Player One meets Stranger Things in this new novel by the bestselling author who George RR Martin describes as "an excellent writer." In January 1986, fifteen-year-old boy-genius Nick Hayes discovers he's dying. And it isn't even the strangest thing to happen to him that week. Nick and his Dungeons & Dragons-playing friends are used to living in their imaginations. But when a new girl, Mia, joins the group and reality becomes weirder than the fantasy world they visit in their weekly games, none of them are prepared for what comes next. A strange--yet curiously familiar--man is following Nick, with abilities that just shouldn't exist. And this man bears a cryptic message: Mia's in grave danger, though she doesn't know it yet. She needs Nick's help--now. He finds himself in a race against time to unravel an impossible mystery and save the girl. And all that stands in his way is a probably terminal disease, a knife-wielding maniac and the laws of physics. Challenge accepted.




You Are Not Human


Book Description

In Nazi Germany, Hitler portrayed the Jews as vermin and six million people were killed. Metaphors can make the unreasonable seem reasonable, the illegitimate appear legitimate, and good people turn evil. Top speechwriter Simon Lancaster goes on a mission to explore how metaphors are used and abused today. From Washington to Westminster, Silicon Valley to Syria, Glastonbury to Grenfell, he discovers the same images being used repeatedly. Scum! Bitch! Vegetable! Whilst vulnerable groups are dehumanised, the powerful are hailed as stars, angels or even gods. Prepare to take a journey into the surreal. This book raises profound questions about the power of language and the language of power. You will never think about words in the same way again.




How to Kill Things with Words


Book Description

This work studies the literary and socio-discursive contexts of 'the Ananias and Sapphira episode' in Acts as a narrative illustrating the negative-ethos of community goods. This work examines the dynamics of the Ananias and Sapphira episode in Acts and its role in the narrative of Luke-Acts . McCabe locates the passage within its literary context, and emphasizes the manner in which it is embedded in a discourse on the life of the Christian community expressed through shared goods. Utilizing Speech-Act Theory , McCabe argues that Peter's words, divinely sanctioned, directly execute the divine judgment upon the couple. This is argued by appealing to the social processes and conventions of language-use within the context of a 'community-of-goods' discourse as present in the Lukan narrative. McCabe appeals to the conventions deployed in the narrative world of Luke-Acts which undergird the efficacy of prophetic speech to effect divine judgment, including the patterns established by prophetic figures in the Scriptures of Israel and Luke's own characterization of Jesus as Prophet-King, followed by an examination of Luke's characterization of Peter as an apostolic-prophetic successor to Jesus, deputized to speak on behalf of God. McCabe concludes by examining the successful execution of the speech-act of divine judgment. This is formerly the Journal for the Study of the New Testament Supplement , a book series that explores the many aspects of New Testament study including historical perspectives, social-scientific and literary theory, and theological, cultural and contextual approaches. The Early Christianity in Context series, a part of JSNTS , examines the birth and development of early Christianity up to the end of the third century CE. The series places Christianity in its social, cultural, political and economic context. European Seminar on Christian Origins and Journal for the Study of the Historical Jesus Supplement are also part of JSNTS .




The Word is Murder


Book Description

**A Guardian 'Best Thriller of the Year!'** The New York Times bestselling author of Magpie Murders and Moriarty brilliantly reinvents the classic crime novel once again with this clever and inventive mystery starring a fictional version of the author himself as the Watson to a modern-day Holmes, investigating a case involving buried secrets, murder, and a trail of bloody clues. A woman crosses a London street. It is just after 11am on a bright spring morning, and she is going into a funeral parlor to plan her own service. Six hours later the woman is dead, strangled with a crimson curtain cord in her own home. Enter disgraced police detective Daniel Hawthorne, a brilliant, eccentric man as quick with an insult as he is to crack a case. And Hawthorne has a partner, the celebrated novelist Anthony Horowitz, curious about the case and looking for new material. As brusque, impatient, and annoying as Hawthorne can be, Horowitz—a seasoned hand when it comes to crime stories—suspects the detective may be on to something, and is irresistibly drawn into the mystery. But as the case unfolds, Horowitz realizes he’s at the center of a story he can’t control . . . and that his brilliant partner may be hiding dark and mysterious secrets of his own. A masterful and tricky mystery which plays games at many levels, The Word Is Murder is Anthony Horowitz at his very best.




How Do You Kill 11 Million People?


Book Description

How do you get away with the murder of 11 million people? The answer is simple—and disturbing. You lie to them. Learn how you can become an informed, passionate citizen who demands honesty and integrity from your leaders. In this nonpartisan New York Times bestselling book, Andy Andrews emphasizes that seeking and discerning the truth is of critical importance, and that believing lies is the most dangerous thing you can do. You’ll be challenged to become a more careful student of the past, seeking accurate, factual accounts of events that illuminate choices our world faces now. By considering how the Nazi German regime was able to carry out over eleven million institutional killings between 1933 and 1945, Andrews advocates for an informed population that demands honesty and integrity from its leaders and from each other. This short, thought-provoking book poses questions like: What happens to a society in which truth is absent? How are we supposed to tell the difference between the “good guys" and the “bad guys”? How does the answer to this question affect our country, families, faith, and values? Does it matter that millions of ordinary citizens aren't participating in the decisions that shape the future of our country? Which is more dangerous: politicians with ill intent, or the too-trusting population that allows such people to lead them? This is a wake-up call: we must become informed, passionate citizens or suffer the consequences of our own ignorance and apathy. We can no longer measure a leader’s worth by the yardsticks provided by the left or the right. Instead, we must use an unchanging standard: the pure, unvarnished truth.




Why They Can't Write


Book Description

An important challenge to what currently masquerades as conventional wisdom regarding the teaching of writing. There seems to be widespread agreement that—when it comes to the writing skills of college students—we are in the midst of a crisis. In Why They Can't Write, John Warner, who taught writing at the college level for two decades, argues that the problem isn't caused by a lack of rigor, or smartphones, or some generational character defect. Instead, he asserts, we're teaching writing wrong. Warner blames this on decades of educational reform rooted in standardization, assessments, and accountability. We have done no more, Warner argues, than conditioned students to perform "writing-related simulations," which pass temporary muster but do little to help students develop their writing abilities. This style of teaching has made students passive and disengaged. Worse yet, it hasn't prepared them for writing in the college classroom. Rather than making choices and thinking critically, as writers must, undergraduates simply follow the rules—such as the five-paragraph essay—designed to help them pass these high-stakes assessments. In Why They Can't Write, Warner has crafted both a diagnosis for what ails us and a blueprint for fixing a broken system. Combining current knowledge of what works in teaching and learning with the most enduring philosophies of classical education, this book challenges readers to develop the skills, attitudes, knowledge, and habits of mind of strong writers.