Everyone has heard
terrible stories of families being left with thousands of dollars in debt after their loved ones passed away.
Not exact matches
Director Amat Escalante uses artful long takes, nonprofessional actors, and moments
of abject miserableness — in one
terrible - to - watch scene, a character has his genitals lit on fire — to sketch the
story of a decent Mexican
family churned up by their country's corrupt police force.
I realize I am probably a
terrible human being for not liking this formulaic, feel - good
family tale, based on the true
story of unlikely British ski jumper Michael «Eddie» Edwards.
In Motherland, Maria Hummel, author
of several novels and a former Stegner Fellow in poetry, enters relatively unfamiliar literary territory to tell the
story of one so - called Mitläufer
family: German citizens who would never have personally countenanced the
terrible abuses that Jews suffered, but nonetheless went along with the Nazi regime.
She skillfully manages multiple points
of view to tell the
story, among them Claire Burwell, jury member and widow
of a wealthy investment banker killed on 9/11; Sean Gallagher, the brother
of a firefighter victim, who becomes an angry spokesman for survivor
families; and Asma Anwar, a Bangladeshi immigrant, widowed herself on that
terrible day, whose dignified appearance at a climactic public hearing provides the
story's moral anchor.
The author writes in beautiful, descriptive language and, at the same time, keeps socking the reader between the eyes with the revelations that unfold in this
terrible story of a brutal
family murder in an outback country town - a town that seeps with anger, bitterness, violence, oppressive heat and blow - flies.
In other paired
stories, an Imperial policeman who is forced to leave the continent after rumors spread
of his homosexuality reappears as a doorman in New York City who brings solace to a young betrayed woman; a young girl held hostage in a brothel plots a brutal revenge against the madam who keeps her, and then the madam reappears as a wizened midwife who delivers a baby to a Hindu woman forced to make a
terrible choice about the child; a Muslim boy who escapes a train raided by a murderous mob reemerges as a grandfather who has moved to London to be with his
family and whose granddaughter struggles to save her marriage after the death
of their child; a young cartographer alters a small section
of the Radcliffe Line with
terrible consequences, and then his boss reappears as a senile old man who sets off in search
of a prostitute he often hires.
Alternating between the past and present, Meredith and Nina will finally hear the singular, harrowing
story of their mother's life, and what they learn is a secret so
terrible and terrifying that it will shake the very foundation
of their
family and change who they believe they are.
In this coming -
of - age
story, Ling narrates the
terrible changes suffered by her
family and neighborhood during the Cultural Revolution in China.
That rare coming -
of - age
story able to blend the dark with the uplifting, Irma Voth follows a young Mennonite woman, vulnerable yet wise beyond her years, who carries a
terrible family secret with her on a remarkable journey to survival and redemption.
There were finally, the two peasant boys whose
story is related in Gunther Weisenborn's Der lautlose Aufstand (1953), who were drafted into the S.S. at the end
of the war and refused to sign; they were sentenced to death, and on the day
of their execution they wrote in their last letter to their
families: «We two would rather die than burden our conscience with such
terrible things.
In his decision, Muir accepted Schuller's version
of the events had a «ring
of truth about it» and was critical
of Parlee's changing
story as well as his attempts to portray Schuller and her
family as «
terrible tenants.»