Search
Search results
Hazel (1853 KP) rated Capturing Jasmina (India's Street Kids #1) in Books
Dec 17, 2018
<i>This eBook was provided by the publisher via NetGalley in exchange for an honest review</i>
Kimberly Rae draws attention to the ongoing trafficking of children in India in her young adult novel <i>Capturing Jasmina</i>. Jasmina was only ten when her father sold both her and her brother Samir to a man promising safety and good education. In reality the siblings end up in a sweatshop slaving over clothes to be sold in America. After three years they manage to escape only to be trafficked a second time. Eventually Jasmina and Samir are separated and Jasmina becomes a street kid.
Whilst living on the streets Jasmina encounters a Christian missionary, Asha, rescuing women from brothels by either offering them a safe place to live or at the very least spiritually, by teaching them about God and Jesus. Intrigued Jasmina follows Asha who then offers to help her too. After having her childhood robbed from her, it seems like Jasmina, with the help of those who trust in God, will get back on her feet again.
Despite being a short novel, Rae paints a contrasting image to what the western world is used to. Jasmina finds the concept of a simple toilet baffling. It is not until you hear or see what is happening to innocent people in other parts of the world that you realize there are so many things in life you take for granted.
<i>Capturing Jasmina</i> emphasizes how difficult it is to escape once trafficked. In these situations people belong to everyone but themselves. They have no freedom and running away can cause more problems than it solves. The novel also shows what Christians can do to help. Although no one can completely solve the problems, the tiniest piece of aid they can provide is a step in the right direction.
It was slightly disappointing that we do not find out what happened to Samir once he was separated from his sister. Jasmina’s first person narrative makes it clear that what she wants most is to be reunited with her family. In a way, although there is a positive ending, not yet finding her brother makes it clear that there cannot always be happy endings. It is not possible to save everyone.
Written from a young teenagers point of view makes this book suitable for ages twelve and older. Christians will appreciate the biblical references however there is not too much religion for non-believers or those of other religions to get offended by.
Kimberly Rae draws attention to the ongoing trafficking of children in India in her young adult novel <i>Capturing Jasmina</i>. Jasmina was only ten when her father sold both her and her brother Samir to a man promising safety and good education. In reality the siblings end up in a sweatshop slaving over clothes to be sold in America. After three years they manage to escape only to be trafficked a second time. Eventually Jasmina and Samir are separated and Jasmina becomes a street kid.
Whilst living on the streets Jasmina encounters a Christian missionary, Asha, rescuing women from brothels by either offering them a safe place to live or at the very least spiritually, by teaching them about God and Jesus. Intrigued Jasmina follows Asha who then offers to help her too. After having her childhood robbed from her, it seems like Jasmina, with the help of those who trust in God, will get back on her feet again.
Despite being a short novel, Rae paints a contrasting image to what the western world is used to. Jasmina finds the concept of a simple toilet baffling. It is not until you hear or see what is happening to innocent people in other parts of the world that you realize there are so many things in life you take for granted.
<i>Capturing Jasmina</i> emphasizes how difficult it is to escape once trafficked. In these situations people belong to everyone but themselves. They have no freedom and running away can cause more problems than it solves. The novel also shows what Christians can do to help. Although no one can completely solve the problems, the tiniest piece of aid they can provide is a step in the right direction.
It was slightly disappointing that we do not find out what happened to Samir once he was separated from his sister. Jasmina’s first person narrative makes it clear that what she wants most is to be reunited with her family. In a way, although there is a positive ending, not yet finding her brother makes it clear that there cannot always be happy endings. It is not possible to save everyone.
Written from a young teenagers point of view makes this book suitable for ages twelve and older. Christians will appreciate the biblical references however there is not too much religion for non-believers or those of other religions to get offended by.
Hazel (1853 KP) rated The Winner's Crime (The Winner's Trilogy, #2) in Books
Dec 17, 2018
<i>This ARC was provided by the publisher via NetGalley in exchange for an honest review</i>
The second book in <i>The Winner’s Trilogy</i> continues with the story of Kestrel and Arin, two characters from totally different backgrounds. In <i>The Winner’s Crime</i>, Kestrel is engaged to Prince Verex and in line to rule the Valorian Empire. Arin, however, is in Herran and no longer has anything to do with Kestrel.
Previously in <i>The Winner’s Curse</i> some sort of relationship seemed to be building between the two teenagers despite their contrasting lives. However with Kestrel now being someone of importance it is impossible for the two to be together. Kestrel denies her feelings for Arin and, although she does not wish to marry the prince, goes along with the emperor’s plans. Arin on the other hand believes Kestrel is acting this way because she wants to and so grows to despise her.
As the story goes on the reader gets to experience both Kestrel and Arin’s point of views on the situation. Kestrel secretly tries to side with the Herrani, however Arin misunderstands her motives. But with such a powerful Emperor in charge, everything Kestrel does is at a great risk of her own life and can only end badly.
I must admit that I had forgotten a lot of what occurred in <i>The Winner’s Curse</i> and therefore it was difficult at first to understand what was happening in the book. Personally I think <i>The Winner’s Crime</i> was the better of the two books so far as it was clearer from the readers point of view what was happening in the lead up to Kestrel and Prince Verex’s wedding. It was the characters that were misunderstanding each other, but who slowly began to realize each other’s intentions towards the end of the novel. The book ended on a cliffhanger and hopefully the two main characters will view each other in a better light in the next in the series.
Overall this series has not gripped me in the way that I would have hoped. The setting is similar to books set in the distant past however women appear to have similar rights to men, such as fighting in the army, which makes it difficult to get your head around as the two ideas conflict with themselves. <i>Goodreads</i> has the series listed as fantasy, however this is slightly misleading as there are none of the typical feature associated with this genre – e.g. magic.
The second book in <i>The Winner’s Trilogy</i> continues with the story of Kestrel and Arin, two characters from totally different backgrounds. In <i>The Winner’s Crime</i>, Kestrel is engaged to Prince Verex and in line to rule the Valorian Empire. Arin, however, is in Herran and no longer has anything to do with Kestrel.
Previously in <i>The Winner’s Curse</i> some sort of relationship seemed to be building between the two teenagers despite their contrasting lives. However with Kestrel now being someone of importance it is impossible for the two to be together. Kestrel denies her feelings for Arin and, although she does not wish to marry the prince, goes along with the emperor’s plans. Arin on the other hand believes Kestrel is acting this way because she wants to and so grows to despise her.
As the story goes on the reader gets to experience both Kestrel and Arin’s point of views on the situation. Kestrel secretly tries to side with the Herrani, however Arin misunderstands her motives. But with such a powerful Emperor in charge, everything Kestrel does is at a great risk of her own life and can only end badly.
I must admit that I had forgotten a lot of what occurred in <i>The Winner’s Curse</i> and therefore it was difficult at first to understand what was happening in the book. Personally I think <i>The Winner’s Crime</i> was the better of the two books so far as it was clearer from the readers point of view what was happening in the lead up to Kestrel and Prince Verex’s wedding. It was the characters that were misunderstanding each other, but who slowly began to realize each other’s intentions towards the end of the novel. The book ended on a cliffhanger and hopefully the two main characters will view each other in a better light in the next in the series.
Overall this series has not gripped me in the way that I would have hoped. The setting is similar to books set in the distant past however women appear to have similar rights to men, such as fighting in the army, which makes it difficult to get your head around as the two ideas conflict with themselves. <i>Goodreads</i> has the series listed as fantasy, however this is slightly misleading as there are none of the typical feature associated with this genre – e.g. magic.
Hazel (1853 KP) rated Extraordinary Means in Books
Dec 17, 2018
<i>This ARC was provided by the publisher via NetGalley in exchange for an honest review
Extraordinary Means</i> is a coming of age novel by Robyn Schneider that promises to live up to the expectations of John Green and Stephen Chbosky fans. Set in the near future, Lane Rosen has spent his seventeen years studying and making sure he is always achieving his best at school. With high hopes of getting into Stanford, he is distraught when he is sent to Latham House, a sanatorium in the Santa Cruz Mountains, after contracting tuberculosis.
Although in today’s society tuberculosis is curable, Schneider has invented a total drug resistant TB, which is highly contagious, therefore needs to be contained. Lane finds himself in the middle of nowhere surrounded by other teenagers with the incurable disease. Here he meets Sadie Bennett with whom, after a shaky start, he develops a close relationship.
Ironically, whilst suffering with an illness that could kill him, Lane learns there is a lot more to life than school. With his new friends: Sadie, Nick, Marina and Charlie; Lane begins to become more adventurous and starts to relax and have fun whilst they wait for scientists to come up with a cure. The only trouble with this waiting game is that the odds of some of them not living long enough to see this cure is fairly high.
Narrated by both Lane and Sadie, <i>Extraordinary Means</i> is a love story with a heart-breaking ending. The readers really feel for the teens as they are separated from their family, and forgotten about by their friends. Unlike other potentially terminal illness, they cannot have support from their loved ones because of the risk of spreading the disease.
There is an underlying sadness to the novel, as the reader knows that no matter how much fun the characters have and no matter what their hopes and dreams, chances are something dreadful could happen. With this in mind, the story becomes much more powerful and moving as Sadie, Lane and friends determine to keep on going and enjoy their lives on a day-to-day basis.
Schneider is an excellent writer who has created a contemporary romance with a unique setting. The imagination involved with the tuberculosis could almost describe the novel as dystopian minus the science fiction genre. <i>Extraordinary Means</i> is the perfect novel for young adult fans, but warning: it could break your heart!
Extraordinary Means</i> is a coming of age novel by Robyn Schneider that promises to live up to the expectations of John Green and Stephen Chbosky fans. Set in the near future, Lane Rosen has spent his seventeen years studying and making sure he is always achieving his best at school. With high hopes of getting into Stanford, he is distraught when he is sent to Latham House, a sanatorium in the Santa Cruz Mountains, after contracting tuberculosis.
Although in today’s society tuberculosis is curable, Schneider has invented a total drug resistant TB, which is highly contagious, therefore needs to be contained. Lane finds himself in the middle of nowhere surrounded by other teenagers with the incurable disease. Here he meets Sadie Bennett with whom, after a shaky start, he develops a close relationship.
Ironically, whilst suffering with an illness that could kill him, Lane learns there is a lot more to life than school. With his new friends: Sadie, Nick, Marina and Charlie; Lane begins to become more adventurous and starts to relax and have fun whilst they wait for scientists to come up with a cure. The only trouble with this waiting game is that the odds of some of them not living long enough to see this cure is fairly high.
Narrated by both Lane and Sadie, <i>Extraordinary Means</i> is a love story with a heart-breaking ending. The readers really feel for the teens as they are separated from their family, and forgotten about by their friends. Unlike other potentially terminal illness, they cannot have support from their loved ones because of the risk of spreading the disease.
There is an underlying sadness to the novel, as the reader knows that no matter how much fun the characters have and no matter what their hopes and dreams, chances are something dreadful could happen. With this in mind, the story becomes much more powerful and moving as Sadie, Lane and friends determine to keep on going and enjoy their lives on a day-to-day basis.
Schneider is an excellent writer who has created a contemporary romance with a unique setting. The imagination involved with the tuberculosis could almost describe the novel as dystopian minus the science fiction genre. <i>Extraordinary Means</i> is the perfect novel for young adult fans, but warning: it could break your heart!
Gareth von Kallenbach (977 KP) rated A Nightmare on Elm Street (2010) in Movies
Aug 8, 2019
Back in the 80’s, razor-fingered Freddy Krueger (Robert Englund) became an iconic figure of horror and mainstream pop culture with the film “A Nightmare on Elm Street”. Thanks to great special effects, macabre humor, and the charismatic Freddy, audience flocked to theaters and launched a highly successful series that spanned several films. Eventually the series ran its course, but the title character remained a mainstay of horror fans everywhere. Last seen in “Freddy Vs. Jason”, the terror of teenagers’ dreams has returned in a new take on the film from the Platinum Dunes production team, the same team behind the successful relaunch of the “Friday the 13th Series”.
The new film stars Jackie Earl Haley as the title character, and once again he is dispatching the teens of Elm Street in all manner of bizzare and grisly fashions in their dreams. Soon the town is full of dead teens and their insomniac peers anxious for an answer to the madman. Their parents are no help as they are quick to downplay any questions about Freddy and quickly disregard any concerns raised by their kids, even when the body count continues to rise. As their numbers dwindle, a group of friends starts to uncover the reason behind the unresloved deaths and band together to solve the mystery of Freddy Krueger and survive.
Freddy is only able to menace the teens in their sleep, so they take all manner of precautions in an attempt to stay awake and plot a defense, but sleep is something one can only postpone, never fully avoid, which means Freddy is always lurking, just waiting for his chance to strike.
What follows is a fairly by-the-numbers horror film that is sadly is lacking much suspense and horror. I was a big fan of the series and I found myself wanting to watch the original Wes Craven classic rather than what was unfolding on the screen. Haley does a great job as Krueger, blending menace with gallows humor, but Englund left a very large Fedora and razor gloves to fill and Haley comes up lacking. I also missed the elaborate effects that defined the series, greatly underwhelmed by this film’s attempts. The gore, suspense, and thrills were restrained compared to the previous films.
This is not to say this is a bad film, but the generic cast headed by Thomas Dekker gives us very little to root for and left me wanting more. Here is hoping that the next offering gives fans more of what made the series so popular and less of the formulaic predictability that has become so common in horror.
The new film stars Jackie Earl Haley as the title character, and once again he is dispatching the teens of Elm Street in all manner of bizzare and grisly fashions in their dreams. Soon the town is full of dead teens and their insomniac peers anxious for an answer to the madman. Their parents are no help as they are quick to downplay any questions about Freddy and quickly disregard any concerns raised by their kids, even when the body count continues to rise. As their numbers dwindle, a group of friends starts to uncover the reason behind the unresloved deaths and band together to solve the mystery of Freddy Krueger and survive.
Freddy is only able to menace the teens in their sleep, so they take all manner of precautions in an attempt to stay awake and plot a defense, but sleep is something one can only postpone, never fully avoid, which means Freddy is always lurking, just waiting for his chance to strike.
What follows is a fairly by-the-numbers horror film that is sadly is lacking much suspense and horror. I was a big fan of the series and I found myself wanting to watch the original Wes Craven classic rather than what was unfolding on the screen. Haley does a great job as Krueger, blending menace with gallows humor, but Englund left a very large Fedora and razor gloves to fill and Haley comes up lacking. I also missed the elaborate effects that defined the series, greatly underwhelmed by this film’s attempts. The gore, suspense, and thrills were restrained compared to the previous films.
This is not to say this is a bad film, but the generic cast headed by Thomas Dekker gives us very little to root for and left me wanting more. Here is hoping that the next offering gives fans more of what made the series so popular and less of the formulaic predictability that has become so common in horror.
Gareth von Kallenbach (977 KP) rated Love, Simon (2018) in Movies
Jul 8, 2019
Meet Simon, just your average teenage boy who loves to hang out with his best friends and spend time with his family. His life is seemingly perfect, except he has a secret. Simon (Nick Robinson) is gay. With news of a closeted gay kid at school, who only is known as Blue; Simon starts to venture out of his secret. However, as John Hughes taught us in the 1980’s it’s not easy being a teenager. As Simon tries to navigate this new friendship with Blue, he begins to affect the lives of his best friends Leah (Katherine Langford), Nick (Keiynan Lonsdale), and Abby (Alexandra Shipp) just to keep his secret safe. Even his mom (Jennifer Gardiner) and dad (Josh Duhamel) begin to realize something is up. So, the question is if his secret gets out how will he handle it?
Love, Simon is the coming of age story 2018 needed. Modern coming of age films lack critical aspects of the teenage condition; being selfish and having massive amounts of teen angst. That is what was special about the 1980’s classics Breakfast Club and Sixteen Candles, they showed how teenagers actually felt.
Love, Simon also bring an LGBT love story into a heavily saturated heteronormative genre. Now for those who say, well why is this important? It’s important because representation in film matters. Being able to see yourself in a character on the big screen can mean so much.
Originally, going into this film I was a bit skeptical; as the film has been heavily advertised on all social media platforms. So, I began to worry if the hype would live up to the actual film. I was glad to be proven quite the opposite; as I ended up completely falling in love with this film. The wit shown in the script, and the delivery made by the actors was incredible. Watching this film was a breath of fresh air; as most coming of age films follow very formulated clichés and while this had some it used them in completely different ways. I would say more on this matter but truly you have to see it to experience it. Even the soundtrack exuded the teenage experience; completely complementing it from beginning to end.
Love, Simon is a film that shows being yourself is a freeing experience and it is definitely a film I will be buying once it hits Blu Ray. This film is for anyone who loved those coming of age movies from the 1980’s and anyone who loves a good love story
Love, Simon is the coming of age story 2018 needed. Modern coming of age films lack critical aspects of the teenage condition; being selfish and having massive amounts of teen angst. That is what was special about the 1980’s classics Breakfast Club and Sixteen Candles, they showed how teenagers actually felt.
Love, Simon also bring an LGBT love story into a heavily saturated heteronormative genre. Now for those who say, well why is this important? It’s important because representation in film matters. Being able to see yourself in a character on the big screen can mean so much.
Originally, going into this film I was a bit skeptical; as the film has been heavily advertised on all social media platforms. So, I began to worry if the hype would live up to the actual film. I was glad to be proven quite the opposite; as I ended up completely falling in love with this film. The wit shown in the script, and the delivery made by the actors was incredible. Watching this film was a breath of fresh air; as most coming of age films follow very formulated clichés and while this had some it used them in completely different ways. I would say more on this matter but truly you have to see it to experience it. Even the soundtrack exuded the teenage experience; completely complementing it from beginning to end.
Love, Simon is a film that shows being yourself is a freeing experience and it is definitely a film I will be buying once it hits Blu Ray. This film is for anyone who loved those coming of age movies from the 1980’s and anyone who loves a good love story
LeftSideCut (3778 KP) rated The Walking Dead - Season 9 in TV
Feb 6, 2020
Clawing its way back
Contains spoilers, click to show
After a hugely underwhelming couple of seasons, it's nice to see TWD back on a stronger path, with a new showrunner, and new time setting (more on that in a minute).
After All Out War came to a climax at the end of season 8, Rick and co. are now looking towards building a new life. Truly bringing the communities together, including those who remain if The Saviours. It's a fair slow burn start, but the tension between the various camps and those still loyal to Negan is enough to keep things interesting enough.
And then of course, along came Rick Grimes' last episode. Andrew Lincoln has been a massive part of TWD from day one, so his departure is a big deal. The episode itself is pretty powerful, sharing some genuinely emotional moments with visions of characters that are long gone - the then recent passing of actor Scott Wilson (Hershel) was particularly moving - and it concluded Ricks involvement with TWD nicely, whilst leaving the doors wide open for the upcoming movies.
By the episodes end, were thrown a time jump of 7 years, and this is where the bulk of the season unfolds.
The time jump feels like a fresh start, were spared the mourning of Rick's apparent death, and we get to see the communities some time down the line. Characters like Michonne, Carol, Judith, Negan - all feel familiar yet so different. It's an interesting oath to take, but one I think benefited the show as a whole.
The mid-season finale is genuinely thrilling, as we're introduced to The Whisperers, the best villains since The Governor.
Their involvement has injected a genuine feeling of horror back into TWD, that has been missing for a few years.
They're lead by the unhinged, and ruthless Alpha (a fantastic Samantha Morton), and just like that, TWD feels tense once again.
A few new characters (Magna etc) are introduced, and I honestly hated all of them at first, but they grew in me by the end. Same goes for Henry and some of the other teenagers - the first generation to have been born and raised during the zombie apocalypse, another interesting direction.
The season ends with an infamous plot beat from the comic series, and I was left excited for the future of TWD for the first time in a while.
With the show coming to an apparent close in the next few years, I'm hoping that this is the start of a strong conclusion. It's certainly a step in the right direction!
After All Out War came to a climax at the end of season 8, Rick and co. are now looking towards building a new life. Truly bringing the communities together, including those who remain if The Saviours. It's a fair slow burn start, but the tension between the various camps and those still loyal to Negan is enough to keep things interesting enough.
And then of course, along came Rick Grimes' last episode. Andrew Lincoln has been a massive part of TWD from day one, so his departure is a big deal. The episode itself is pretty powerful, sharing some genuinely emotional moments with visions of characters that are long gone - the then recent passing of actor Scott Wilson (Hershel) was particularly moving - and it concluded Ricks involvement with TWD nicely, whilst leaving the doors wide open for the upcoming movies.
By the episodes end, were thrown a time jump of 7 years, and this is where the bulk of the season unfolds.
The time jump feels like a fresh start, were spared the mourning of Rick's apparent death, and we get to see the communities some time down the line. Characters like Michonne, Carol, Judith, Negan - all feel familiar yet so different. It's an interesting oath to take, but one I think benefited the show as a whole.
The mid-season finale is genuinely thrilling, as we're introduced to The Whisperers, the best villains since The Governor.
Their involvement has injected a genuine feeling of horror back into TWD, that has been missing for a few years.
They're lead by the unhinged, and ruthless Alpha (a fantastic Samantha Morton), and just like that, TWD feels tense once again.
A few new characters (Magna etc) are introduced, and I honestly hated all of them at first, but they grew in me by the end. Same goes for Henry and some of the other teenagers - the first generation to have been born and raised during the zombie apocalypse, another interesting direction.
The season ends with an infamous plot beat from the comic series, and I was left excited for the future of TWD for the first time in a while.
With the show coming to an apparent close in the next few years, I'm hoping that this is the start of a strong conclusion. It's certainly a step in the right direction!
JT (287 KP) rated Halloween (1978) in Movies
Mar 10, 2020
Without a doubt Halloween was one of the finest horror films ever made, John Carpenter was spot on with his portrayal of a serial killer descending on a small American town.
Michael Myers was to become a horror icon and even though it spanned seven sequels, the original will always be the best in many people’s eyes. It is certainly my all time favourite horror film. Carpenter’s cinematic vision of Halloween was brilliant right from the opening credits. The long and short camera angles coupled with the “was he there or wasn’t he” shots of Myers were sublime.
The sinister musical score as well is paramount in making this film a household name in its genre. Jamie Lee Curtis was a scream queen for the 70s and although the acting talents were not up to scratch, it made no difference to the overall outcome of the film. Michael Myers was a disturbed child and after committing a horrific murder when he was just six years old he was committed to a mental institution where he escaped to stalk Laurie Strode, his long lost sister.
His the perfect boogeyman, and during the first part of the film he stalks Laurie sometimes just appearing out of shot as a blur between trees of a faceless driver passing by in his car. Laurie of course has no idea who he is but starts to feel like she is being watched, and her fears are finally realised one night descends and Carpenter ramps up the tension to breaking point.
What I love about this film is the pure simplicity of it, with a budget of just $320,000 it grossed $60m world world and was a massive hit with horror fans the world over. It didn’t want for fancy special effects, and the musical score was hardly a masterpiece but it did the job and it did it well. It is the model slasher flick and most of what has preceded it (maybe with the exception of the first Scream) have not been able to stand up in competition.
We’ve had Freddy and Jason, and we’re still having to sit and watch teenagers heading to remote and desolate locations to be butchered in a variety of unique ways while pints of blood are splashed across the screen. Halloween doesn’t require that, it will have you jumping out of your seat at least more than once and it just goes to prove that simple scares are the most effective.
Michael Myers was to become a horror icon and even though it spanned seven sequels, the original will always be the best in many people’s eyes. It is certainly my all time favourite horror film. Carpenter’s cinematic vision of Halloween was brilliant right from the opening credits. The long and short camera angles coupled with the “was he there or wasn’t he” shots of Myers were sublime.
The sinister musical score as well is paramount in making this film a household name in its genre. Jamie Lee Curtis was a scream queen for the 70s and although the acting talents were not up to scratch, it made no difference to the overall outcome of the film. Michael Myers was a disturbed child and after committing a horrific murder when he was just six years old he was committed to a mental institution where he escaped to stalk Laurie Strode, his long lost sister.
His the perfect boogeyman, and during the first part of the film he stalks Laurie sometimes just appearing out of shot as a blur between trees of a faceless driver passing by in his car. Laurie of course has no idea who he is but starts to feel like she is being watched, and her fears are finally realised one night descends and Carpenter ramps up the tension to breaking point.
What I love about this film is the pure simplicity of it, with a budget of just $320,000 it grossed $60m world world and was a massive hit with horror fans the world over. It didn’t want for fancy special effects, and the musical score was hardly a masterpiece but it did the job and it did it well. It is the model slasher flick and most of what has preceded it (maybe with the exception of the first Scream) have not been able to stand up in competition.
We’ve had Freddy and Jason, and we’re still having to sit and watch teenagers heading to remote and desolate locations to be butchered in a variety of unique ways while pints of blood are splashed across the screen. Halloween doesn’t require that, it will have you jumping out of your seat at least more than once and it just goes to prove that simple scares are the most effective.
Warsaw Boy: A Memoir of a Wartime Childhood
Book
Warsaw Boy is the remarkable true story of a sixteen-year old boy soldier in war-torn Poland 'The...
Justice Denied: Extraordinary Miscarriages of Justice
Book
An incisive examination by the bestselling author of The Mammoth Book of Gangs of some of the many...
My Lai: Vietnam, 1968, and the Descent Into Darkness
Book
On the early morning of March 16, 1968, American soldiers from three platoons of Charlie Company...
history