A survival guide to get you prepared for a disaster while saving money. We all know that emergencies, disasters and unexpected events are headed our way. We just do not know when the unforeseen will happen. You might know that you want to prepare for unanticipated or surprising situations, but you cannot buy equipment or pay for the knowledge that you know you need. At times we find ourselves in a situation that doesn't allow us to spend money. This book will help you to learn about what it takes to be prepared for the next coming disaster in the cheapest way possible. You can learn how to get an education, put food in your pantry, store water, have good health and save a little money along the way. Modern techniques and time-honored methods fill the pages of this book. Each page guides you through the best and easiest ways to NOT spend money to get what you need for the least out-of-pocket cost. Good luck as you put into practice these methods to a prepared future with a little cash in your pocket!
""In this story, as the chief character is internally melodramatic, the story itself ceases to be merely melodramatic, and partakes of true drama."" - T. S. Eliot.Like Poe before him and Conan Doyle after, Wilkie Collins shifted easily from rational domains to the ""superrational."" Like them, he is famed for original contributions to ""ratiocinative"" (detective) literature, but often preferred to indulge his occult predilection - a lifelong indulgence. His first published story, ""The Last Stage Coachmen"" (1843), was a supernatural allegory of trains; perhaps his last lucid effort (before ill health and opium drained his powers) was this short novel, The Haunted Hotel.Collins' methods and themes, developed and elaborated in his earlier, massive novels, are streamlined and concentrated here into a tight novelette. The same relentless pace and narrative power, the same attention to plot and backdrop detail that distinguish The Moonstone and The Woman in White are evident here, as is the obsession with destiny and the willful struggle against it.Collins' much-loved Venice provides the scenery and fatal beauty, the grim waterways and palaces the author will haunt with mysterious women, grotesques, and bloody conspiracies. The Countess Narona is one of Collins' cosmopolitan enchantresses; she acts, but as the tool of her doom. T. S. Eliot wrote, ""The principal character, the fatal woman, is herself obsessed by the idea of fatality; her motives are melodramatic; she therefore compels the coincidences to occur, feeling that she is compelled to compel them."" Collins relieves the tension with some wry characterizations and ironies; the theatrics are sustained. Indeed, theatrical motifs figure heavily, Collins himself being much involved with the stage at that period.The Haunted Hotel appears to be loosely based on a case from the annals of French crime; the scene, scenery, players and conflicts, and especially the horror, come straight from Collins' overstimulated, no doubt overwrought, most certainly haunted imagination.
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