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“A sharp and unconventional book — a swirl of memoir, travelogue and biography of some of history's champion day-dreamers.” —Maureen Corrigan, "Fresh Air" A spirited inquiry into the lost value of leisure and daydream The Art of the Wasted Day is a picaresque travelogue of leisure written from a lifelong enchantment with solitude. Patricia Hampl visits the homes of historic exemplars of ease who made repose a goal, even an art form. She begins with two celebrated eighteenth-century Irish ladies who ran off to live a life of "retirement" in rural Wales. Her search then leads to Moravia to consider the monk-geneticist, Gregor Mendel, and finally to Bordeaux for Michel Montaigne--the hero of this book--who retreated from court life to sit in his chateau tower and write about whatever passed through his mind, thus inventing the personal essay. Hampl's own life winds through these pilgrimages, from childhood days lazing under a neighbor's beechnut tree, to a fascination with monastic life, and then to love--and the loss of that love which forms this book's silver thread of inquiry. Finally, a remembered journey down the Mississippi near home in an old cabin cruiser with her husband turns out, after all her international quests, to be the great adventure of her life. The real job of being human, Hampl finds, is getting lost in thought, something only leisure can provide. The Art of the Wasted Day is a compelling celebration of the purpose and appeal of letting go.
"The first book of its kind in the new science of posttraumatic growth: A cutting-edge look at how trauma survivors find healing and new resilience,"--Amazon.com.
In v.1-8 the final number consists of the Commencement annual.
The right guy, the right place, the wrong time. It's 1995, and Alex Dean has it all: a spot at Cambridge University next year, the love of the beautiful and vivacious Holly, and all the time in the world ahead of him. That is until a run-in with a former childhood bully sees him bruised and bloody and almost drowning in the Thames. He awakes the next day only to find he's in a messy, derelict room he's never seen before, in grimy clothes he doesn't recognize, with no idea of how he got there. A glimpse in the mirror tells him he's older-much older-and has been living a hard life, his features ravaged by time and poor decisions. He snatches a newspaper and finds it's 2010-fifteen years since that night by the river. After finally drifting off to sleep that night, Alex wakes the following morning to find it's now 2019, another nine years later. But the next day, it's 1999. Never knowing which day is coming, he begins to piece together what happens in his life after that fateful night by the river. But what exactly is going on? Why does his life look nothing like he thought it would? What happened to Cambridge, to Holly? Alex must push against the heavy headwind of fate, however impossible that might feel, and learn that small actions have untold impact. It might be all he needs to save the people he loves and, equally importantly, himself.
Everyone always seems to be talking about the end of the world—Y2K, the Mayan apocalypse, blood moon prophecies, nuclear war, killer robots, you name it. In Apocalypse Any Day Now, journalist Tea Krulos travels the country to try to puzzle out America's obsession with the end of days. Along the way he meets doomsday preppers—people who stockpile supplies and learn survival skills—as well as religious prognosticators and climate scientists. He camps out with the Zombie Squad (who use a zombie apocalypse as a survival metaphor); tours the Survival Condos, a luxurious bunker built in an old Atlas missile silo; and attends Wasteland Weekend, where people party like the world has already ended. Frightening and funny, the ideas Krulos explores range from ridiculously outlandish to alarmingly near and present dangers.