This is about a passage through a continent filled with the most confusing contrasts: the ageing Soviet jets, on their way to strafe Unita positions against a backdrop of palms and an azure sea; the boy in the Angolan town Viana whose leg had been blown off by a landmine but whose hope and trust seemed to deny the agony of a land torn by bloody warfare; the almost serene stillness of the Tete valley in Mozambique, chilling for its nightmare scenery of burnt-out trucks and its forlorn landscape. Through it, Wender travels deeper into perhaps one of the most inexplicable events and places of this century. Rwanda.
The book is a cycle of love poems, which McKuen numbered rather than giving them individual titles. The author believed this gave them a more subjective, personal feel.Â
Orla McLeod knows too much about violence for her own good. She knows about pain and how to inflict it, she knows about guilt and she knows about survival. And because she was barely a teenager when she learnt all this, she knows what these things can do to a child.
This is a gripping story of identity, connection with our past, and the power of words to create or devastate. Crossing two decades, from the vibrant revolutionary murals of Mexico City to the halls of a Congress bent on eradicating the color red, The Lacuna is as deep and rich as the New World itself.
Kowalski introduces Haley Bombauer (a.k.a Flash Jackson), a girl who is longing to burst out of the confines of her provincial upbringing. With compassion and humor, the novel tells of her emergence into a world that 'was not designed with girls in mind'.
