Walter Mosley’s indelible detective Easy Rawlins is back, with a new detective agency and a new mystery to solve. Picking up where his last adventures in Rose Gold left off in L.A. in the late 1960s, Ezekiel “Easy” Rawlins finds his life in transition. He’s ready—finally—to propose to his girlfriend, Bonnie Shay, and start a life together. And he’s taken the money he got from the Rose Gold case and, together with two partners, Saul Lynx and Tinsford “Whisper” Natly, has started a new detective agency. But, inevitably, a case gets in the way: Easy’s friend Mouse introduces him to Rufus Tyler, a very old man everyone calls Charcoal Joe. Joe’s friend’s son, Seymour (young, bright, top of his class in physics at Stanford), has been arrested and charged with the murder of a white man from Redondo Beach. Joe tells Easy he will pay and pay well to see this young man exonerated, but seeing as how Seymour literally was found standing over the man’s dead body at his cabin home, and considering the racially charged motives seemingly behind the murder, that might prove to be a tall order. Between his new company, a heart that should be broken but is not, a whole raft of new bad guys on his tail, and a bad odor that surrounds Charcoal Joe, Easy has his hands full, his horizons askew, and his life in shambles around his feet. From the Hardcover edition.
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Nineteen-year-old Joe ODell is about to learn he is not who he thinks he is. Soon after being introduced to Betsy, a spirited coed unlike anyone he has met, Joe is abducted to a private, billion-dollar lab. There he discovers the unbelievable: he has been cloned from two-thousand-year-old burial lines that may have been Jesus Christs. Held captive, Joe watches his almost normal life through scenes recorded by a genius who wants to know if his clone is divine or not. Distraught, Joe flees. On his own, the once tender now broken soul welcomes darkness, even sin. The runaway never forgets Betsy who, after just one meeting, becomes a light to him, a beacon. Joe also remembers his college roommate, a modern-day matchmaker with his own struggle. When he returns to the life he knew, Joe reconnects with his dad and the old neighborhood that now includes new faces. Before being called to help one special person become one great minister someday, Joe touches everyone around him with his truth: God is within each of us. Jesus Cloned is a gentle, often funny, scientifically engaging, irrevocably sweet and heartwarming journey. Through their losses and gains, Joe and those closest to him reveal to themselvesand to all of ushow far Gods love reaches, and how much that love heals.
This book explores revisions of black male vulnerability in contemporary literature, examining how an everyday life determined by racialized social control can be transformed. It shows how transformative change takes place in black male characters’ efforts to work through the criminality-as-vulnerability script in order to make a social impact.
Thirteen-year-old Joe Riley gets up to all sorts of mischief in this unsentimental portrait of Sydney during the Depression.
Records significant developments and events in Kansas agriculture. Serves as an annual report to the governor and legislature.
From the authors of the leading environmental handbook Green Living, the best of E's nationally syndicated Q&A column, EarthTalk Knowledge of environmental issues and sustainability is increasingly important as industrialization and climate change continue to wreak havoc on our ecosystems and our psyche. As temperatures rise—and icecaps shrink and storms lash our coastal areas into oblivion—being smart about carbon footprints, waste streams and consumer choices becomes increasingly important for all of us. That’s where EarthTalk comes in. EarthTalk gathers together the best of readers' questions on the environment and the best ways to live green and answers in a quick and easy guide for the average Joe (or Jane). Searching by subject or looking up questions in the index, readers can learn everything from the difference between wild and farmed salmon to the pros and cons of nuclear power. EarthTalk provides the essential tools and tips to living in harmony with the planet.
Willem de Kooning (b.1904), one of the great pioneers of Abstract Expressionism, is a towering figure in the history of twentieth-century painting - and widely regarded as America's greatest living painter. The extraordinary Hirshhorn Museum collection of his work - the largest and most significant public collection of his art in the world - comprehensively represents all aspects of his art from the late 1930s to the mid-1980s. Patron Joseph H. Hirshhorn and his wife, Olga, forged a special friendship with de Kooning, helping to fund his studio, purchasing his paintings, drawings, and sculpture, and corresponding with him for more than a decade. Hirshhorn acquired such emblematic de Kooning paintings as Woman, 1948, from the artist's famed pictures depicting women, and Zurich, 1947, from the daring group of black-and-white works that established his reputation as a leading Abstract Expressionist. Hirshhorn also acquired such pivotal works from the 1950s as Two Woman in the Country, in which de Kooning merged themes of figure and landscape, as well as the first and most ferocious of his paintings on door panels, Woman Sag Harbor, from the 1960s. Rounding out the collection are bronzes from the early 1970s and lyrical abstractions from the 1980s. In addition, Hirshhorn's prescient collection of de Kooning's pastel, ink, and charcoal drawings allows us to see the artist's creative process from early ideas to finished paintings. Author Judith Zilczer explores the evolution of de Kooning's work from his academic training in his native Rotterdam and his experience in New York in the 1930s through to his development both of intensely expressionist style in evocative abstractions and disturbing figurative works from the 1940s and 1950s. She traces these courses in de Kooning's oeuvre to a number of influences, focusing particularly on his creative response to the urban and cosmopolitan environment of New York City, where he lived from 1926 to 1963 and where he formed friendships with such artists as Arshile Gorky, Franz Kline, and John Graham. Zilczer explores de Kooning's inventive combination of sources from high art and popular culture, for the first time placing his violent imagery within the tradition of caricature in Western art. By contrast, Lynne Cooke outlines de Kooning's later work, made after he moved to rural Long island in the early 1960s, and established his art within the pastoral tradition of painting, as well as within the social context of America in the 1960s. She views his art of these years as analogous to the approaches to art taken by many of the Old Master painters, who achieved "old-age" styles late in life. A pioneering essay on the technical qualities of de Kooning's work, reporting on results of infrared examination and other conservation analyses, by Zilczer and Susan Lake reveals the extent to which de Kooning's spontaneous-looking imagery was in fact carefully crafted. The book is completed with an extensive bibliography, chronology, and catalog section, making this the most substantial publication of de Kooning's work to date.
Consequent to the midnight visit of a weird Queens movie buff claiming to be God's messenger, affluent Long Islander Joe Benjamin undergoes a comic devastation of tribulations that would test the patience of Job