by Paul Stickland (2000)
Pop-up pictures depict several trucks engaged in various activities such as pouring sand, getting stuck in traffic, and being towed.
William Low
Whether it's a flat tire or a fire, trucks come to the rescue in this board book. Kids will love repeating the refrain "to the rescue!" with each different truck fire truck, dump truck, tow truck, and more. William Low's characteristically beautiful art brings these big machines to life.
written and
Rhyming text and illustrations featuring the letters from A to Z follow Patty as she plants pumpkins and watches them grow.
Jay Watson
Forensic Fictions is the first book-length critical study of William Faulkner's fictional depictions of the legal vocation and the practice of law. Examining Faulkner's lawyer characters in light of the southern storytelling tradition, Jay Watson argues that the forensic competence of the Faulknerian lawyer is a direct function of his skill as a raconteur. To trace the biographical and historical roots of Faulkner's lifelong preoccupation with the legal profession, Watson draws on contemporary scholarship in narrative, rhetoric, jurisprudence, legal and intellectual history, literary theory, and Lacanian psychoanalysis. His approach yields insightful readings of forensic characters and scenes from such works as "An Odor of Verbena," The Hamlet, "Wild Palms," Absalom, Absalom!, and The Reivers.^ Watson shows the links between storytelling and the competence of Faulkner's legal characters by examining the intertextual logic that connects the two most important lawyers in the Yoknapatawpha fiction: the incompetent Horace Benbow and the more capable Gavin Stevens, whose entrance into Faulkner's oeuvre coincides with Benbow's untimely departure from it. Focusing on the nine novels in which these two characters appear, Watson traces the evolutionary process by which Stevens supplants Benbow. Three of the Stevens novels - Intruder in the Dust, Knight's Gambit, and Requiem for a Nun - form what Watson calls Faulkner's "forensic trilogy" and, when read together, constitute the writer's most sustained investigation of the rhetorical and ethical responsibilities of the lawyer-citizen.^ Faulkner, Watson argues, saw the forensic figure as a potential hybrid of homo loquens and homo politicus, capable of combining the roles of storyteller, rhetorician, and theatrical performer with those of critic, citizen, and ethical man. As such, this figure served as a provocative authorial surrogate through whom Faulkner could explore diverse and often contradictory aspects of his personal experience, his family background, his cultural heritage, and, most of all, his own artistic use of language.
Nick Stone
Miami, 1981. Cocaine Central.Murder Capital, USA.A man about to face evil.A city about to catch fire.When Detective Max Mingus and his partner, Joe Liston, are called to the scene of a death at Miami's Primate Park, it looks like another routine — if slightly bizarre — investigation. That is, until two things turn up: the victim's family, slaughtered, and a partly digested tarot card in the dead man's stomach — the King of Swords.An increasingly bloody trail leads Max and Joe first to a sinister fortune-teller and her scheming pimp son, then to the infamous Solomon Boukman. Few have ever met the most feared criminal in Miami, but rumors abound of a forked tongue, voodooesque ceremonies, and friends in very high places.Against a backdrop of black magic and police corruption, Max and Joe must distinguish the good guys from the bad — and track down some answers.What is the significance of the King of Swords? What makes those who have swallowed the card go on a killing spree just before they die? And can Max find out the truth about Solomon Boukman before death's shadow reaches his own front door?The King of Swords is a feat of black magic, combining a thrilling plot, unforgettable characters, and the uniquely menacing atmosphere that made Nick Stone's Mr. Clarinet the most celebrated crime debut of 2006.