Eddie Bereskin wants to change the world and stop the war, instead his life unravels after he is arrested on a Halloween protest in 2002. An incredible story about loss and hope set in London, Eddie the Kid takes us to the anti-war movement and two generations of activists, where, amid rioting and arrests, the destinies of Eddie and his sister Esther have been shaped.
Eddie didn't favor anyone in his family. Fair, blonde, and green-eyed, he stood in sharp contrast to the other darker-complected, dark-haired, blue-eyed members. The difference created a rift in the family fabric and his mother singled him out for abuse, irrationally holding him responsible for the family's turmoil. Little Eddie struggled with the severity of his maltreatment but, by age eleven, could no longer handle the circumstances of his life. He decided his only escape would be to die, that by conscious will, he could simply resolve to give up life and cease to exist. Eddie's mind, alerted to his decision, and believing the ultimate goal for any entity was to continue, regardless of form or quality of life, was determined to survive. Panicked at the threat of cessation, his mind made a desperate decision -- it fractured his personality and created Randy from traits that had been repressed in Eddie. Randy, a tough, defiant individual, was created to bring new energy, new life, and stand in defense of the defeated, accepting Eddie. Rising to the challenge, he accepted the responsibility of his creation and was fiercely focused to protecting Eddie while endeavoring to create new circumstances for the life they shared. Randy was proud of his efforts to save Eddie. He knew he was Eddie's paladin, his champion, created for a noble purpose -- to bring Eddie back from the brink of oblivion. After many struggles, Randy's efforts appeared to be successful and the mind considered the possibility of enjoying the existence he'd insured. It pondered the idea of Eddie being involved with the world, rather than merely persisting through the time allotted for the life. Aware of Eddie's inability to interact with the world around him, the mind again fractured the personality creating Jesse, a new facet, an aesthetic personality, focused to tender feelings of love and friendship -- and aspects which determine quality of life. Jesse felt he was created to experience emotions and appreciate beauty, to evolve the repressed side of the personality, to bring stability to the entity. He believed he was born to search for love, to find the emotional equilibrium that would bring the separate identities into harmony. Developed from suppressed characteristics, Jesse was creative and confident, loving and inquisitive, charming and fun loving. And he was on a quest -- determined to achieve his goal. Without Eddie's awareness of them, Randy and Jesse sought to balance their existence and hoped they were achieving what they saw as a normal life until Jesse experienced an incident which shattered that belief and forced them to realize they had not progressed as far as they thought. Jesse's realization that he had made a terrible mistake was devastating. Jumping to a conclusion, Randy, the controlling personality, in his determination to fend off any challenges to them, felt he must take over to handle the crisis in an effort to protect them...
One call will change her life, and will start a war. She is an Italian accountancy student in London, and her boyfriend Eddie teaches at a language school. But the prime reason Immacolata Borelli came to Britain was to look after her gangster brother, wanted for multiple murders back home in Naples. For the Borelli clan are major players in the Camorra, a crime network more close-knit and ruthless than the Sicilian Mafia. Mario Castrolami is a senior Carabinieri investigator of the Camorra, his career dedicated to destroying the corruption and violence of the clans. When Immacolata calls from London to say she is prepared to collaborate with justice - to betray her own family - he knows she is setting in motion a terrifying and unpredictable series of events. The Borellis will not lose their criminal empire without a vicious fight. They will use anything and anyone to prevent her from giving evidence against them. Even Eddie, and Eddie's life.
When the peccadilloes of his law-firm partner sink the business, Eddie Amos returns to the Commonwealth Attorney's office as a prosecutor having as his chief goals the conviction-on the basis of suspected longstanding sexual-abuse of boys-of (1) the administrator of a tax-funded youth organization in the central-Kentucky city of Lexington, and (2) the city's drug-czar/pimp. At the same time, a young attorney instigates a heretofore-unheard-of wrongful-death lawsuit, generated by a drunk driver, against a distillery, and the two lawyers work together to achieve their goals. An assassination, two murders and a possible suicide impact or result from their efforts. Characters ranging from the most sublime to the seamiest-an Episcopal priest (Vietnam veteran), drug pushers, dope-heads, prostitutes, embezzlers, rogue cops, troubled teenagers, a greed-driven booze-maker, corporate lawyers, sexual perverts, a hit-man, sex-abuse victims, and a devout and beautiful paralegal-are caught up in the process, during the development of which Amos, the priest, a restaurateur embittered by the drunk-driver-induced death of her husband, a corporate attorney's wife, the young lawyer and the paralegal progress through spiritual journeys and/or experience the developing of romantic attachments or profound heartbreak, but find some answers to hard questions.
The 1930s are routinely considered sound film’s greatest comedy era. Though this golden age encompassed various genres of laughter, clown comedy is the most basic type. This work examines the Depression decade’s most popular type of comedy—the clown, or personality comedian. Focusing upon the Depression era, the study filters its analysis through twelve memorable pictures. Each merits an individual chapter, in which it is critiqued. The films are deemed microcosmic representatives of the comic world and discussed in this context. While some of the comedians in this text have generated a great deal of previous analysis, funnymen like Joe E. Brown and Eddie Cantor are all but forgotten. Nevertheless, they were comedy legends in their time, and their legacy, as showcased in these movies, merits rediscovery by today’s connoisseur of comedy. Even this book’s more familiar figures, such as Charlie Chaplin and the Marx Brothers, are often simply relegated to being recognizable pop culture icons whose work has been neglected in recent years. This book attempts to address these oversights and to re-expose the brilliance and ingenuity with which the screen clowns contributed a comic resiliency that was desperately needed during the Depression and can still be greatly appreciated today. The films discussed are City Lights (1931, Chaplin), The Kid From Spain (1932, Cantor), She Done Him Wrong (1933, Mae West), Duck Soup (1933, Marx Brothers), Sons of the Desert (1933, Laurel and Hardy), Judge Priest (1934, Will Rogers), It’s a Gift (1934, W.C. Fields), Alibi Ike (1935, Brown), A Night at the Opera (1935, Marx Brothers), Modern Times (1936, Chaplin), Way Out West (1937, Laurel and Hardy), and The Cat and the Canary (1939, Bob Hope).
SLOW EDDIE is a story of friendship, race, class, love and loss that unfolds on Cape Cod. Eddie, a bike-riding school teacher, is friends with Harvard classmates Chip and Jamie, respectively a patrician lawyer and smart-mouthed Jewish doctor. Jules is Chip's wife, Jamie's nurse, and Eddie's fantasy. Supporting characters include Eddie's twin cousins, formerly incarcerated and now custodians at his school, as well as teaching colleagues Nettie, a "Reverse Freedom Rider" from the South, and Taylor, a privileged expatriate of Grosse Point, Michigan. Eddie's favorite is Perry, a promising Cape Verdean student and athlete.
THE STORY: Poses a fascinating set of questions: why do we become what we are? And if we were able to go back in time, and deal with unanswered questions, would we really know any more about ourselves? Edward Howe, a young physicist whose life has
To most people, it appeared Lydia had it all-three beautiful children, a loving husband, and a happy life. That was until the shocking news spread that Lydia murdered her children. Now, most people just think she's insane-including Benny, Veronica and David. Benny, Veronica and David are three strangers whose lives are completely unrelated until they hear the news about Lydia. But as terrible as the mother's actions seem to them, they never make the connection-the sinister force that encouraged Lydia to kill her children is the same evil voice whispering psychotic thoughts into their own minds. Benny is a common street thug, a hustler. Always looking for a bigger score, he sets his sights on the biggest job he's ever pulled. Veronica once dreamed of being a ballet dancer-until she is assaulted by a close family friend. With her self-esteem destroyed, she resorts to stripping to pay the bills. David, a successful attorney, is a womanizer. He gets pleasure from picking up beautiful women, using them, and then blowing them off. Will Benny, Veronica and David resist the suggestions of the evil forces determined to steal their souls? What happens to Lydia? Take a walk into the minds of four seemingly innocent strangers as they become unwitting pawns in a disturbing, mysterious game.
WHITE HOLLER CRIME is a play on the term coined in the late 1930's by Edwin Sutherland to describe professional crime. Today the Federal Government has itself become criminal in its enforcement of justice while taxpayers can only holler in protest, and so the term: White Holler Crime. Follow our investigative reporter as he wends his way through the bowels of spending madness, incompetence and hypocrisy that is the Federal Justice System. Welcome to Club Fed!