Log in with Facebook 
Ugh, I need a break...
So much anti-Zionism, even from Jews.
"...price of apartments i central Israel shot up in expectation for the wave of relocating settlers."
So a creation of a palestinian state would mean the ethnic cleansing of Jews? That's why I don't trust a one state solution, to be honest...
Coming Sept 2016! Set in the post-war, pre-civil rights South, and evoking the socially resonant and morally complex crime novels of Dennis Lehane, and Walter Mosley, Darktown is a vivid, smart, intricately plotted crime saga that explores the timely issues of race, law enforcement, and the uneven scales of justice. Put this one on your TBR list. .
So EXCITED! "Christmas Comes Early!" THANK YOU! Thank you Atria and Netgalley.
Received "approval" from NetGalley & Atria Books today (12/14). SCORE An ARC of the "most anticipated book of 2016": Happy Dance. DARKTOWN. Wow! ... the big secret question. Naughty or Nice? Do I open before Christmas, or wait until later in the New Year?
I am typically a really "good" girl, and read books according to my editorial calendar by pub date. Very organized - living by spreadsheets. Not stepping out too far in advance. Play by the rules, while the digital books set quietly in queue in my Kindle. However, may be tempted to be a little "naughty" and jump ahead. Darktown is calling out to me. You think? The suspense is killing me . . .
Why the fascination? An Atlanta gal, spending most of my career in the media business in this Southern town--totally invested. Intrigued with books set in the area with topics like: Cops, detectives, racial tensions, injustice, politics, crime, thrillers, mystery, police corruption, anything revolving around the town and the era. Especially, late forties, post-war, and the civil rights South. This one has my name all over it.
Currently listening to Mullen's backlist on audio- fascinating.
Who better to tell it than Thomas Mullen?
Karin Slaughter, move over . . .
About DARKTOWN
By: Thomas Mullen
ISBN: 9781501133862
Publisher: Atria Books
Publication Date: 9/13/2016
Format: Hardcover
My Rating: TBR
In the tradition of our most acclaimed suspense writers, the author of The Last Town on Earth delivers a riveting and elegant police procedural set in Atlanta, a ripped-from-the-headlines depiction of a world on the cusp of great change involving race relations, city politics, and police corruption.
Responding to pressure from on high, the Atlanta police department is forced to hire its first black officers. It’s a victory of sorts, though the newly minted policemen are met with deep hostility by their white peers and their authority is limited: They can’t arrest a suspect unless a white officer is present; they can’t drive a squad car; they can’t even enter the station through the front door.
When a black woman who was last seen in a car driven by a white man with connections to the APD turns up fatally beaten, no one seems to care except for Lucius and Boggs, two black cops from vastly different backgrounds, who risk their jobs, the trust the community has put in them, and even their own safety to investigate her death. When their efforts stall they have to work alongside fellow officers who include the old-school cop, Dunlow, and his partner, Rakestraw, a young progressive who may or may not be willing to make allies across color lines.
Set in the post-war, pre-civil rights South, and evoking the socially resonant and morally complex crime novels of Dennis Lehane, George Pelecanos, and Walter Mosley, Darktown is a vivid, smart, intricately plotted crime saga that explores the issues of race, law enforcement, and the uneven scales of justice. Read More
About the Author
Thomas Mullen is the author of The Last Town on Earth, which was named Best Debut Novel of 2006 by USA TODAY.
He was also awarded the James Fenimore Cooper Prize for excellence in historical fiction for The Many Deaths of the Firefly Brothers and The Revisionists.
His works have been named to Year’s Best lists by The Chicago Tribune and USA TODAY, among others.
His stories and essays have been published in Grantland, Paste, and the Huffington Post, and his Atlanta Magazine true crime story about a novelist/con man won the City and Regional Magazine Award for Best Feature.
He lives in Atlanta with his wife and sons.Read More
So good. I was persuaded to read it because it was described to me as Montana's To Kill a Mockingbird. I'd say that's pretty accurate. It's not a clean and easy story, nor does the ending allow for justice to prevail. Something I think that's pretty accurate to the time. Horrible, awful, violent, things happened. But the perpetrators of those acts kept their reputations because often they were more influential then the victims. 
James Joyce (1882-1941) napisał kiedyś do swojego brata, że w jego mniemaniu wolność w literaturze irlandzkiej to odchodzenie od angielskiej konwencji, co swoje źródło miało w jego nieprzeciętnym talencie. Irlandzka powieść nigdy nie była ograniczona przez konieczność kreowania schematycznej fabuły i takich samych bohaterów. Tak więc podejmowano szereg eksperymentów i wprowadzano innowacje, zamiast tworzyć klasyczną literaturę postkolonialną. Obce wpływy kulturowe sprawiły, że irlandzcy pisarze zgodnie podążali w kierunku poszukiwań tradycji innych ludzi, aby w ten sposób zrekompensować fakt, iż w ich literaturze brakowało własnego dogmatycznego literackiego dziedzictwa. Począwszy od Podróży Guliwera Jonathana Swifta (1667-1745), aż do Drakuli Abrahama Stokera (1847-1912) naginanie zasad realizmu jest czymś na kształt irlandzkiej emigracji. Sto lat temu Irlandia była jedynym regionem Zjednoczonego Królestwa, gdzie generowano rodzimą sztukę modernistyczną. Fascynacja grą słów i ekstrawagancją, które funkcjonowały już we wczesnym średniowieczu, stały się głównym aspektem irlandzkiej modernistycznej przygody, tak jak i jego mroczna i fragmentaryczna historia.
Powieść Josepha O’Connora – Miasto Odkupienia – jest pozbawiana tradycji, natomiast nafaszerowana jest wszelkiego rodzaju fotografiami, wierszami, listami, zapiskami bohaterów, wyciągami z ich dzienników, fragmentami irlandzkich ballad, czy też indywidualnymi historiami pochodzącymi z rozmaitych dokumentów i opowieści. Można przypuszczać, że jest to typowy irlandzki sposób pisania. Od czasów Laurence’a Sterne’a (1713-1768) do Jamesa Joyce’a literacki eksperyment irlandzkich pisarzy obejmował bardzo często zabawy z książką, którą traktowano jako obiekt materialny.
