Thursday, November 3, 2011

Gone

  • ISBN13: 9780061448782
  • Condition: New
  • Notes: BRAND NEW FROM PUBLISHER! BUY WITH CONFIDENCE, Over one million books sold! 98% Positive feedback. Compare our books, prices and service to the competition. 100% Satisfaction Guaranteed

In the blink of an eye.

Everyone disappears.

Gone.

Everyone except for the young. Teens. Middle schoolers. Toddlers. But not a single adult. No teachers, no cops, no doctors, no parents. Gone, too, are the phones, internet, and television. There is no way to get help.

Hunger threatens. Bullies rule. A sinister creature lurks. Animals are mutating. And the teens themselves are changing, developing new talentsâ€"unimaginable, dangerous, deadly powersâ€"that grow stronger by the day.

It's a terrifying new world. Sides are being chosen and war is imminent.

The first in a breathtaking saga about tee! ns battling each other and their darkest selves, gone is a page-turning thriller that will make you look at the world in a whole new way.


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Nicole Beharie (The Express), Will Patton (Entrapment, The Postman), Charles Dutton (TV's Roc, Mimic) and Alfre Woodard (TV's Desperate Housewives, Primal Fear) star in this gripping true-life story. Falsely accused of distributing narcotics in a school zone, Dee Roberts (Beharie) is offered a deal she can't refuse: plead guilty and accept a 10-year suspended sentence. The alternative: risk serving 16-to-25 in jail. Realizing a conviction would ruin her life, Dee decides to fight back. Suing the DA for racial discrimination, Dee battles impossible odds in a case that will not only change her life but the laws of Texas as well.American! Violet may be based on the story of outrageous injustices committed against Regina Kelly of Hearne, Texas, but that does not make it a good film. It is, at best, a bad film with an important message. American Violet is about a single mother of four, Dee Roberts (Nicole Beharie), who is wrongly convicted of drug charges due to police racism and corruption. As she struggles to stay out of prison with the help of her mother, Alma (Alfre Woodard), Dee exemplifies a stalwart woman who refuses to plead guilty when offered a plea bargain. While names of characters and the town itself are changed, the story in American Violet is allegedly altered only slightly in hopes of maintaining its tragic truth, that a plea-bargain system in Texas forced, in this case, impoverished and sometimes innocent African Americans to accept guilty charges and their negative aftereffects. American Violet's melodramatic sensibility attempts to spark the same indignation that fu! els ACLU lawyer David Cohen (Tim Blake Nelson) to embark on a ! lawsuit against the head racist, district attorney Calvin Beckett (Michael O'Keefe). Cohen, with the help of a former narcotics officer, Sam Conroy (Will Patton), discovers enough evidence to disturb any viewer. While it is crucial to have artful dialogue about this politically offensive topic, American Violet is not finely scripted or cinematically engaging enough to elevate it above second-hand documentary. Still, since the film does cover meaningful territory, there may be a place for it in classrooms, or it may inspire others to work on further exposing gross injustice for the benefit of our society. --Trinie DaltonNicole Beharie (The Express), Will Patton (Entrapment, The Postman), Charles Dutton (TV's Roc, Mimic) and Alfre Woodard (TV's Desperate Housewives, Primal Fear) star in this gripping true-life story. Falsely accused of distributing narcotics in a school zone, Dee Roberts (Beharie) is! offered a deal she can't refuse: plead guilty and accept a 10-year suspended sentence. The alternative: risk serving 16-to-25 in jail. Realizing a conviction would ruin her life, Dee decides to fight back. Suing the DA for racial discrimination, Dee battles impossible odds in a case that will not only change her life but the laws of Texas as well.American Violet may be based on the story of outrageous injustices committed against Regina Kelly of Hearne, Texas, but that does not make it a good film. It is, at best, a bad film with an important message. American Violet is about a single mother of four, Dee Roberts (Nicole Beharie), who is wrongly convicted of drug charges due to police racism and corruption. As she struggles to stay out of prison with the help of her mother, Alma (Alfre Woodard), Dee exemplifies a stalwart woman who refuses to plead guilty when offered a plea bargain. While names of characters and the town itself are changed, the story in Am! erican Violet is allegedly altered only slightly in hopes ! of maint aining its tragic truth, that a plea-bargain system in Texas forced, in this case, impoverished and sometimes innocent African Americans to accept guilty charges and their negative aftereffects. American Violet's melodramatic sensibility attempts to spark the same indignation that fuels ACLU lawyer David Cohen (Tim Blake Nelson) to embark on a lawsuit against the head racist, district attorney Calvin Beckett (Michael O'Keefe). Cohen, with the help of a former narcotics officer, Sam Conroy (Will Patton), discovers enough evidence to disturb any viewer. While it is crucial to have artful dialogue about this politically offensive topic, American Violet is not finely scripted or cinematically engaging enough to elevate it above second-hand documentary. Still, since the film does cover meaningful territory, there may be a place for it in classrooms, or it may inspire others to work on further exposing gross injustice for the benefit of our society. --Trinie Dalto! nViolet Brown is about to get a crash course in the penalties of the drug trade. Busted attempting to cross state lines with five kilos of Columbia̢۪s finest, she finds herself facing a twenty-four year prison sentence, pregnant and alone. Find out what happens to Violet when the bars close on one of the most vicious correctional facilities in the state, and Begonia and her girls rip the city up to set things right.



Julia Press Simmons is a talented writer who captures the heart and soul of her character's emotions, making readers become attached to the characters within her novels. Each novel in the Strawberry Mansion series just gets better and better.
~Leona Romich~
Violet Brown is about to get a crash course in the penalties of the drug trade. Busted attempting to cross state lines with five kilos of Columbia̢۪s finest, she finds herself facing a twenty-four year prison sentence, pregnant and alone. Find out what happens to Violet ! when the bars close on one of the most vicious correctional fa! cilities in the state, and Begonia and her girls rip the city up to set things right.



Julia Press Simmons is a talented writer who captures the heart and soul of her character's emotions, making readers become attached to the characters within her novels. Each novel in the Strawberry Mansion series just gets better and better.
~Leona Romich~
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Festival in Cannes - Anouk Aimee - Movie Poster 27" X 40" (379)

  • Festival in Cannes
  • Anouk Aimee
  • Movie
  • Poster
  • Measures 27" X 40"
Filming on location in France during the 1999 Cannes Film Festival, Henry Jaglom goes behind the scenes to explore how movies get made (and unmade). He would know--he's been making them for decades now. In this one, he takes an Altman-meets-Cassavetes approach to his subject. While former actress Alice (Greta Scacchi), for instance, is trying to get her directorial debut off the ground, film icon Millie (Anouk Aimée) is trying to decide between the lead in Alice's indie and a (better-paying) cameo in the new Tom Hanks vehicle. As in The Player, Jaglom focuses on several characters and, as in many Cassavetes pictures, the dialogue feels improvised. If Festival in Cannes is less emotionally involving than 1997's Déjà Vu (arguably his best), it still provides a fine showcase f! or a talented cast, including Maximilian Schell as Millie's husband and Ron Silver as the producer behind the Hanks project. --Kathleen C. FennessyEach year, thousands flock to the Cannes Film Festival, wildly chasing fame, fortune and each other against the picturesque background of the French Riviera. Director Jaglom captures all the magic and mayhem as he follows an intriguing cast of characters - a beautiful movie icon (Anouk Aimée), her ex-husband (Maximilian Schell), an actress (Greta Scacchi) trying her first script, a high-powered producer (Ron Silver), an up-and-coming ingenue (Jenny Gabrielle), and a fast-talking entrepreneur (Zack Norman). How their lives and loves entangle make for an unforgettable journey through the very heart of the entertainment world.Filming on location in France during the 1999 Cannes Film Festival, Henry Jaglom goes behind the scenes to explore how movies get made (and unmade). He would know--he's been making them for decades now.! In this one, he takes an Altman-meets-Cassavetes approach to ! his subj ect. While former actress Alice (Greta Scacchi), for instance, is trying to get her directorial debut off the ground, film icon Millie (Anouk Aimée) is trying to decide between the lead in Alice's indie and a (better-paying) cameo in the new Tom Hanks vehicle. As in The Player, Jaglom focuses on several characters and, as in many Cassavetes pictures, the dialogue feels improvised. If Festival in Cannes is less emotionally involving than 1997's Déjà Vu (arguably his best), it still provides a fine showcase for a talented cast, including Maximilian Schell as Millie's husband and Ron Silver as the producer behind the Hanks project. --Kathleen C. FennessyScreenplay and film stills plus the original movie treatment. Filmed against the backdrop of the world famous Cannes International Film Festival, Henry Jaglom's "Festival in Cannes" is a story that plunges the audience deep into the heart of the funny, touching, sometimes glamourous, often duplicit! ous world of the haves and have-notes of the International Movie Business. FOR MORE INFORMATION, PLEASE VISIT: TheRainbowStore.comFilming on location in France during the 1999 Cannes Film Festival, Henry Jaglom goes behind the scenes to explore how movies get made (and unmade). He would know--he's been making them for decades now. In this one, he takes an Altman-meets-Cassavetes approach to his subject. While former actress Alice (Greta Scacchi), for instance, is trying to get her directorial debut off the ground, film icon Millie (Anouk Aimée) is trying to decide between the lead in Alice's indie and a (better-paying) cameo in the new Tom Hanks vehicle. As in The Player, Jaglom focuses on several characters and, as in many Cassavetes pictures, the dialogue feels improvised. If Festival in Cannes is less emotionally involving than 1997's Déjà Vu (arguably his best), it still provides a fine showcase for a talented cast, including Maximilian Schell as! Millie's husband and Ron Silver as the producer behind the Ha! nks proj ect. --Kathleen C. FennessyFESTIVAL IN CANNES Movie Poster. Starring: Anouk Aimée & Greta Scacchi. Written and Directed by: Henry Jaglom. 2002 Paramount Pictures. Measures 27" X 40"

Harold and the Purple Crayon 50th Anniversary Edition (Purple Crayon Books)

  • 1983 - Harper Trophy - Paperback
  • Harold & the Purple Crayon
  • By Crockett Johnson
  • VG Condition
  • Classic / Collectible
Was it worth it, this awful struggle to survive, no matter what the cost?"

Harold is Hal Holbrook’s affecting memoir of growing up behind disguises, and his lifelong search for himself. Abandoned by his mother and father when he was two, Holbrook and his two sisters each commenced their separate journeys of survival. Raised by his powerful grandfather until his death when Holbrook was twelve, Holbrook spent his childhood at boarding schools, visiting his father in an insane asylum, and hoping his mother would suddenly surface in Hollywood. As the Second World War engulfed Europe, Holbrook began acting almost by accident. Thereafter, through war, marriage, and the work of honing his craft, his fear of insanity and his fearlessn! ess in the face of risk were channeled into his discovery that the riskiest path of allâ€"success as an actorâ€"would be his birthright. The climb up that tough, tough mountain was going to be a lonely one. And how he achieved itâ€"the cost to his wife and children and to his own conscienceâ€"is the dark side of his eventual fame from performing the man his career would forever be most closely associated with, the iconic Mark Twain.

One evening Harold decided to go for a walk in the moonlight. But there wasn't any moon, and Harold needed a moon for a walk in the moonlight. Fortunately, he had brought his purple crayon. So he drew a moon. He also needed something to walk on. So he drew a path...

And thus begins one of the most imaginative and enchanting adventures in all of children's books. The creative concept behind this beloved story has intrigued children and kept them absorbed for generations, as page by page unfolds the dramatic and clever adventures of! Harold and his purple crayon.

"One night, after thinking i! t over f or some time, Harold decided to go for a walk in the moonlight." So begins this gentle story that shows just how far your imagination can take you. Armed only with an oversized purple crayon, young Harold draws himself a landscape full of beauty and excitement. But this is no hare-brained, impulsive flight of fantasy. Cherubic, round-headed Harold conducts his adventure with the utmost prudence, letting his imagination run free, but keeping his wits about him all the while. He takes the necessary purple-crayon precautions: drawing landmarks to ensure he won't get lost; sketching a boat when he finds himself in deep water; and creating a purple pie picnic when he feels the first pangs of hunger.

Crockett Johnson's understated tribute to the imagination was first published in 1955, and has been inspiring readers of all ages ever since. Harold's quiet but magical journey reminds us of the marvels the mind can create, and also gives us the wondrous sense that ! anything is possible. (Ages 4 to 8)

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