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From the author of The Beneficiary: Fortune, Misfortune and the Story of My Father comes a major publishing event: an unprecedented look into the life of the woman who most singularly shaped Barack Obama-his mother. Barack Obama has written extensively about his father, but little is known about Stanley Ann Dunham, the fiercely independent woman who raised him, the person he credits for, as he says, "what is best in me." Here is the missing piece of the story. Award-winning reporter Janny Scott interviewed nearly two hundred of Dunham's friends, colleagues, and relatives (including both her children), and combed through boxes of personal and professional papers, letters to friends, and photo albums, to uncover the full breadth of this woman's inspiring and untraditional life, and to show the remarkable extent to which she shaped the man Obama is today. Dunham's story moves from Kansas and Washington state to Hawaii and Indonesia. It begins in a time when interracial marriage was still a felony in much of the United States, and culminates in the present, with her son as our president- something she never got to see. It is a poignant look at how character is passed from parent to child, and offers insight into how Obama's destiny was created early, by his mother's extraordinary faith in his gifts, and by her unconventional mothering. Finally, it is a heartbreaking story of a woman who died at age fifty-two, before her son would go on to his greatest accomplishments and reflections of what she taught him.
Contemporary art historians - all of them women - probe the dilemmas and complexities of writing about the woman artist, past and present. These 13 essays address the work and history of specific artists, beginning with the Renaissance and ending with the present day.
A celebration of Chanel haute couture photographed by one of fashion's most acclaimed hotographers. As the fashion cognoscenti would say, there's magic in true haute couture--the creations that entail thousands of hours of handwork, crafting, embellishing. In an exclusive shoot with the house of Chanel, photographer Cathleen Naundorf gained rare access to their physical archives to photograph couture gowns against theatrical backdrops. The result: a book of ethereal, cinematic photographs that capture the exquisiteness of the ensembles and the magical allure of haute couture. This is what sartorial dreams are made of. For more than two decades, Naundorf has used her expert photographic skills to pay homage to the haute couture aesthetic. Combining her experiences in travel, art, and photojournalism, Naundorf elaborately arranges each detail of her photographs, using storyboards and extensively researching the lighting, setting, backdrops, props, hairpieces, makeup, and design for every image. Each photograph is a singular vision suggesting romance, surrealism, exoticism, and above all else, fantasy.
Recently impoverished orphan Titania Stanhope must marry money if she plans to survive. The Earl of Oakley has money, but, in an attempt to keep gold diggers away, keeps it a secret. Then he meets Titania, whose sharp wit and keen mind are rivaled only by her lovely face. Original.
A happily misanthropic Middle East divorcee finds refuge in books in a “beautiful and absorbing” novel of late-life crisis (The New York Times). Aaliya is a divorced, childless, and reclusively cranky translator in Beirut nurturing doubts about her latest project: a 900-page avant-garde, linguistically serpentine historiography by a late Chilean existentialist. Honestly, at seventy-two, should she be taking on such a project? Not that Aailiya fears dying. Women in her family live long; her mother is still going crazy. But on this lonely day, hour-by-hour, Aaliya’s musings on literature, philosophy, her career, and her aging body, are suddenly invaded by memories of her volatile past. As she tries in vain to ward off these emotional upwellings, Aaliya is faced with an unthinkable disaster that threatens to shatter the little life she has left. In this “meditation on, among other things, aging, politics, literature, loneliness, grief and resilience” (The New York Times), Alameddine conjures “a beguiling narrator . . . who is, like her city, hard to read, hard to take, hard to know and, ultimately, passionately complex” (San Francisco Chronicle). A finalist for the National Book Critics Circle Award and the National Book Award, An Unnecessary Woman is “a fun, and often funny . . . grave, powerful . . . [and] extraordinary” Washington Independent Review of Books) ode to literature and its power to define who we are. “Read it once, read it twice, read other books for a decade or so, and then pick it up and read it anew. This one’s a keeper” (The Independent)
A NEW YORK TIMES NOTABLE BOOK OF THE YEAR "[A] poignant addition to the literature of moneyed glamour and its inevitable tarnish and decay…like something out of Fitzgerald or Waugh."—The New Yorker A parable for the new age of inequality: part family history, part detective story, part history of a vanishing class, and a vividly compelling exploration of the degree to which an inheritance—financial, cultural, genetic—conspired in one person's self-destruction. Land, houses, and money tumbled from one generation to the next on the eight-hundred-acre estate built by Scott's investment banker great-grandfather on Philadelphia's Main Line. There was an obligation to protect it, a license to enjoy it, a duty to pass it on—but it was impossible to know in advance how all that extraordinary good fortune might influence the choices made over a lifetime. In this warmly felt tale of an American family's fortunes, journalist Janny Scott excavates the rarefied world that shaped her charming, unknowable father, Robert Montgomery Scott, and provides an incisive look at the weight of inheritance, the tenacity of addiction, and the power of buried secrets. Some beneficiaries flourished, like Scott's grandmother, Helen Hope Scott, a socialite and celebrated horsewoman said to have inspired Katherine Hepburn's character in the play and Academy Award-winning film The Philadelphia Story. For others, including the author's father, she concludes, the impact was more complex. Bringing her journalistic talents, light touch, and crystalline prose to this powerful story of a child's search to understand a parent's puzzling end, Scott also raises questions about our new Gilded Age. New fortunes are being amassed, new estates are being born. Does anyone wonder how it will all play out, one hundred years hence?
"Audrey Corcoran never dreamed she'd try cocaine, but a year after a bitter divorce, she meets a man named Owen Little who convinces her that a little buzz might be exactly what she needs to lift her spirits. And why not? He's already turned her on to jazz, and no one in his circle of friends ever thinks twice about getting high. Soon, however, her escalating drug use puts a strain on Audrey's relationship with her daughters, and she begins to sell cocaine from her home in order to subsidize her habit. By turns horrifying and hilarious, The Singular Exploits of Wonder Mom and Party Girl offers a scathing indictment of American consumer culture and the wildly conflicting demands it makes upon women."--Page [2] of dust jacket.
Full of wise, witty and sardonic observations from the beloved blog SingularExistence.com - the definitive single person's rebuttal to the popular notion that a relationship is the only means to happiness. Drawing on personal experience, Leslie Talbot uses her own contrarian perspective to eviscerate the media fads, self-help quackery, chick lit formulae and bogus social science that plague the unpaired. Redefining the difference between alone and lonely, Talbot will appeal to smart women everywhere.
The groundbreaking multigenerational biography, a richly textured account of President Obama and the forces that shaped him and sustain him, from Pulitzer Prize–winning reporter, political commentator, and acclaimed biographer David Maraniss. In Barack Obama: The Story, David Maraniss has written a deeply reported generational biography teeming with fresh insights and revealing information, a masterly narrative drawn from hundreds of interviews, including with President Obama in the Oval Office, and a trove of letters, journals, diaries, and other documents. The book unfolds in the small towns of Kansas and the remote villages of western Kenya, following the personal struggles of Obama’s white and black ancestors through the swirl of the twentieth century. It is a roots story on a global scale, a saga of constant movement, frustration and accomplishment, strong women and weak men, hopes lost and deferred, people leaving and being left. Disparate family threads converge in the climactic chapters as Obama reaches adulthood and travels from Honolulu to Los Angeles to New York to Chicago, trying to make sense of his past, establish his own identity, and prepare for his political future. Barack Obama: The Story chronicles as never before the forces that shaped the first black president of the United States and explains why he thinks and acts as he does. Much like the author’s classic study of Bill Clinton, First in His Class, this promises to become a seminal book that will redefine a president.
Masculine Singular is an original interpretation of French New Wave cinema by one of France’s leading feminist film scholars. While most criticism of the New Wave has concentrated on the filmmakers and their films, Geneviève Sellier focuses on the social and cultural turbulence of the cinema’s formative years, from 1957 to 1962. The New Wave filmmakers were members of a young generation emerging on the French cultural scene, eager to acquire sexual and economic freedom. Almost all of them were men, and they “wrote” in the masculine first-person singular, often using male protagonists as stand-ins for themselves. In their films, they explored relations between men and women, and they expressed ambivalence about the new liberated woman. Sellier argues that gender relations and the construction of sexual identities were the primary subject of New Wave cinema. Sellier draws on sociological surveys, box office data, and popular magazines of the period, as well as analyses of specific New Wave films. She examines the development of the New Wave movement, its sociocultural and economic context, and the popular and critical reception of such well-known films as Jules et Jim and Hiroshima mon amour. In light of the filmmakers’ focus on gender relations, Sellier reflects on the careers of New Wave’s iconic female stars, including Jeanne Moreau and Brigitte Bardot. Sellier’s thorough exploration of early New Wave cinema culminates in her contention that its principal legacy—the triumph of a certain kind of cinephilic discourse and of an “auteur theory” recognizing the director as artist—came at a steep price: creativity was reduced to a formalist game, and affirmation of New Wave cinema’s modernity was accompanied by an association of creativity with masculinity.