The Book Of Revenge

A darkly comic recollection of a country that no longer exists, and a lyrical examination of the importance of taking a stand when it counts. Set against a backdrop of horrific world events, this is narrative non-fiction at its best. To a young boy growing up poor but happy in an industrial town in Serbia, politics means many national holidays that result in parades, piglets roasting on a spit, and getting to see both his hard-working parents at the same time. An observant child, Dragan Todorovic quickly learns the power of words. Even before he can read or write, he is mesmerized by the squiggles made by the grownups around him and diligently recreates them in the notebooks he carries with him always. He also learns that reciting naughty limericks usually yields some chocolate. This love of words eventually takes Dragan to Belgrade, as editor for a cultural magazine. He hopes to inspire and support the young and innovative artists of the time, but soon discovers that naughty articles do not yield the same results as limericks, and he finds himself constantly clashing with the system. His many questions get only one answer: he is drafted into the army. Dragan survives his tour of duty, but his return to Belgrade is unsettling. Everything is changing, rapidly. Friendships are collapsing, conversations are guarded, nothing is as it seems. Bit by bit, the country he knows and loves is being torn apart. Filled with great characters and poignant and often hilarious stories, The Book of Revenge is a superb duet of a citizen and his country, a universal exploration of just what it is that inoculates the human spirit from dangerous ideologies and toxic nationalism.

"But ultimately it is a journey that leads her back home - where she is forced to confront her childhood dreams, her parents' failed marriage, and her ideas about family. In the end, her target turns out to be more complex - and in some ways more threatening - than the stereotypical terrorist she'd long imagined."--BOOK JACKET.

When Lizzie loses her popularity at school, she resorts to magic to get her revenge.

After the humiliating events on the 4th of July, Gemma's trying to grapple with the fact that Hallie knew her true identity all summer, and that she was the one who stole Teddy from her. Gemma vows revenge, but things immediately get more complicated than she planned. Her dad forces her to get a job, and the only one she can find involves scooping ice cream all day. Ford, Gemma's longtime crush, has arrived in the Hamptons, and is cuter than ever. Josh is refusing to speak to her after finding out she lied to him. And to top it all off, Teddy is back in the picture, and closer to home than Gemma would like. Gemma and Hallie find themselves locked in an escalating revenge cycle involving everything from strawberry syrup to stolen identities. But just when Gemma thinks she has the upper hand, the biggest bombshell of all is dropped. And it's one that threatens to change her life forever.

"It's not just Murakami but also the shadow of Borges that hovers over this mesmerizing book... [and] one may detect a slight bow to the American macabre of E.A. Poe. Ogawa stands on the shoulders of giants, as another saying goes. But this collection may linger in your mind -- it does in mine -- as a delicious, perplexing, absorbing and somehow singular experience." -- Alan Cheuse, NPR Sinister forces collide---and unite a host of desperate characters---in this eerie cycle of interwoven tales from Yoko Ogawa, the critically acclaimed author of The Housekeeper and the Professor. An aspiring writer moves into a new apartment and discovers that her landlady has murdered her husband. Elsewhere, an accomplished surgeon is approached by a cabaret singer, whose beautiful appearance belies the grotesque condition of her heart. And while the surgeon's jealous lover vows to kill him, a violent envy also stirs in the soul of a lonely craftsman. Desire meets with impulse and erupts, attracting the attention of the surgeon's neighbor---who is drawn to a decaying residence that is now home to instruments of human torture. Murderers and mourners, mothers and children, lovers and innocent bystanders---their fates converge in an ominous and darkly beautiful web. Yoko Ogawa's Revenge is a master class in the macabre that will haunt you to the last page. An NPR Best Book of 2013

One of Michiko Kakutani's (New York Times) top ten books of 2016 A funny thing happened on the way to the digital utopia. We've begun to fall back in love with the very analog goods and ideas the tech gurus insisted that we no longer needed. Businesses that once looked outdated, from film photography to brick-and-mortar retail, are now springing with new life. Notebooks, records, and stationery have become cool again. Behold the Revenge of Analog. David Sax has uncovered story after story of entrepreneurs, small business owners, and even big corporations who've found a market selling not apps or virtual solutions but real, tangible things. As e-books are supposedly remaking reading, independent bookstores have sprouted up across the country. As music allegedly migrates to the cloud, vinyl record sales have grown more than ten times over the past decade. Even the offices of tech giants like Google and Facebook increasingly rely on pen and paper to drive their brightest ideas. Sax's work reveals a deep truth about how humans shop, interact, and even think. Blending psychology and observant wit with first-rate reportage, Sax shows the limited appeal of the purely digital life-and the robust future of the real world outside it.

Christopher, Tom, and Sally engage in a dangerous cat and mouse game with the Raven as Christopher attempts to finally unmask him.

We call it justice—the assassination of Osama bin Laden, the incarceration of corrupt politicians or financiers like Rod Blagojevich and Bernard Madoff, and the climactic slaying of cinema-screen villains by superheroes. But could we not also call it revenge? We are told that revenge is uncivilized and immoral, an impulse that individuals and societies should actively repress and replace with the order and codes of courtroom justice. What, if anything, distinguishes punishment at the hands of the government from a victim’s individual desire for retribution? Are vengeance and justice really so very different? No, answers legal scholar and novelist Thane Rosenbaum in Payback: The Case for Revenge—revenge is, in fact, indistinguishable from justice. Revenge, Rosenbaum argues, is not the problem. It is, in fact, a perfectly healthy emotion. Instead, the problem is the inadequacy of lawful outlets through which to express it. He mounts a case for legal systems to punish the guilty commensurate with their crimes as part of a societal moral duty to satisfy the needs of victims to feel avenged. Indeed, the legal system would better serve the public if it gave victims the sense that vengeance was being done on their behalf. Drawing on a wide range of support, from recent studies in behavioral psychology and neuroeconomics, to stories of vengeance and justice denied, to revenge practices from around the world, to the way in which revenge tales have permeated popular culture—including Hamlet, The Godfather, and Braveheart—Rosenbaum demonstrates that vengeance needs to be more openly and honestly discussed and lawfully practiced. Fiercely argued and highly engaging, Payback is a provocative and eye-opening cultural tour of revenge and its rewards—from Shakespeare to The Sopranos. It liberates revenge from its social stigma and proves that vengeance is indeed ours, a perfectly human and acceptable response to moral injury. Rosenbaum deftly persuades us to reconsider a misunderstood subject and, along the way, reinvigorates the debate on the shape of justice in the modern world.