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Self-taught photographer Hugh Mangum was born in 1877 in Durham, North Carolina, as its burgeoning tobacco economy put the frontier-like boomtown on the map. As an itinerant portraitist working primarily in North Carolina and Virginia during the rise of Jim Crow, Mangum welcomed into his temporary studios a clientele that was both racially and economically diverse. After his death in 1922, his glass plate negatives remained stored in his darkroom, a tobacco barn, for fifty years. Slated for demolition in the 1970s, the barn was saved at the last moment--and with it, this surprising and unparalleled document of life at the turn of the twentieth century, a turbulent time in the history of the American South. Hugh Mangum's multiple-image, glass plate negatives reveal the open-door policy of his studio to show us lives marked both by notable affluence and hard work, all imbued with a strong sense of individuality, self-creation, and often joy. Seen and experienced in the present, the portraits hint at unexpected relationships and histories and also confirm how historical photographs have the power to subvert familiar narratives. Mangum's photographs are not only images; they are objects that have survived a history of their own and exist within the larger political and cultural history of the American South, demonstrating the unpredictable alchemy that often characterizes the best art--its ability over time to evolve with and absorb life and meaning beyond the intentions or expectations of the artist.
After a humiliating scandal, a young writer flees to the West Coast, where she is drawn into the morally ambiguous orbit of a charismatic filmmaker and the teenage girls who are her next subjects. FINALIST FOR THE LAMBDA LITERARY AWARD • ONE OF BUZZFEED’S BEST BOOKS OF THE YEAR • “A blistering story about the costs of creating art.”—O: The Oprah Magazine Not too long ago, Cass was a promising young playwright in New York, hailed as “a fierce new voice” and “queer, feminist, and ready to spill the tea.” But at the height of all this attention, Cass finds herself at the center of a searing public shaming, and flees to Los Angeles to escape—and reinvent herself. There she meets her next-door neighbor Caroline, a magnetic filmmaker on the rise, as well as the pack of teenage girls who hang around her house. They are the subjects of Caroline’s next semidocumentary movie, which follows the girls’ clandestine activity: a Fight Club inspired by the violent classic. As Cass is drawn into the film’s orbit, she is awed by Caroline’s ambition and confidence. But over time, she becomes troubled by how deeply Caroline is manipulating the teens in the name of art—especially as the consequences become increasingly disturbing. With her past proving hard to shake and her future one she’s no longer sure she wants, Cass is forced to reckon with her own ambitions and confront what she has come to believe about the steep price of success.
"What moves memoirists to make their most personal stories public? In Why We Write About Ourselves, twenty of America's most successful memoirists answer this question -- and share the nuts and bolts of how they do it. Exploring such issues as the reliability of memory, the ethics of disclosure, and how to protect others' privacy without self-censoring, these bestselling memoirists reveal what keeps them going during the tough times and what they love most -- and least -- about revealing themselves in print"--
From the "New York Times"-bestselling author of "The Jane Austen Book Club," the story of an American family, ordinary in every way but one--their close family relative was a chimpanzee.
Amongst Ourselves is a self-help guide written expressly for individuals with DID/MPD--and the first to provide readers with the practical steps they can take to cope with the condition and emerge with greater self-awareness and the skills to live a rich and rewarding life. Authors Tracy Alderman and Karen Marshall explain what DID is and provide a clear account of its underlying causes and symptoms. They describe what it's like to live with DID and make practical suggestions for coming to terms with the condition, managing the confusion and self-destructive behaviors that often accompany it, and deciding to "come out" to others. Karen lends a unique and immensely important perspective, in that she is able to speak as both a therapist and as an individual with DID. Through her insights, as well as guided exercises throughout the text, readers learn: New skills and strategies to help them manage living with DID An appreciation for DID's positive aspects What to expect from therapy and available treatment options How to become more aware of themselves and the ways in which DID affects their lives
In a time of social and ecological crises, people everywhere are looking for solutions. States and capitalism, rather than providing them, only make matters worse. There’s a growing sense that we’ll have to fix this mess on our own. But how? Deciding for Ourselves, in the spirit of the Zapatistas, demonstrates that “the impossible is possible.” A better world through self-determination and self-governance is not only achievable. It is already happening in urban and rural communities around the world—from Mexico to Rojava, Denmark to Greece—as an implicit or explicit replacement for nations, police, and other forms of hierarchical social control. This anthology explores this “sense of freedom in the air,” as one piece puts it, by looking at contemporary examples of autonomous, directly democratic spaces and the real-world dilemmas they experience, all the while underscoring the egalitarian ways of life that are collectively generated in them.
The definitive consumer health reference for women of all ages and ethnic groups, this book encompasses such controversial issues as managed care and the insurance industry; breast cancer treatment options; recent developments in contraception; and much more. 150 photos. Charts & graphs throughout.
Throughout history we have told ourselves stories to try and make sense of our place in the universe. Richard Holloway takes us on a personal, scientific and philosophical journey to explore what he believes the answers to the biggest of questions are. He examines what we know about the universe into which we are propelled at birth and from which we are expelled at death, the stories we have told about where we come from, and the stories we tell to get through this muddling experience of life. Thought-provoking, revelatory, compassionate and playful, Stories We Tell Ourselves is a personal reckoning with life’s mysteries by one of the most important and beloved thinkers of our time.
A cinematic Reconstruction-era drama of violence and fraught moral reckoning In Dawson’s Fall, a novel based on the lives of Roxana Robinson’s great-grandparents, we see America at its most fragile, fraught, and malleable. Set in 1889, in Charleston, South Carolina, Robinson’s tale weaves her family’s journal entries and letters with a novelist’s narrative grace, and spans the life of her tragic hero, Frank Dawson, as he attempts to navigate the country’s new political, social, and moral landscape. Dawson, a man of fierce opinions, came to this country as a young Englishman to fight for the Confederacy in a war he understood as a conflict over states’ rights. He later became the editor of the Charleston News and Courier, finding a platform of real influence in the editorial column and emerging as a voice of the New South. With his wife and two children, he tried to lead a life that adhered to his staunch principles: equal rights, rule of law, and nonviolence, unswayed by the caprices of popular opinion. But he couldn’t control the political whims of his readers. As he wrangled diligently in his columns with questions of citizenship, equality, justice, and slavery, his newspaper rapidly lost readership, and he was plagued by financial worries. Nor could Dawson control the whims of the heart: his Swiss governess became embroiled in a tense affair with a drunkard doctor, which threatened to stain his family’s reputation. In the end, Dawson—a man in many ways representative of the country at this time—was felled by the very violence he vehemently opposed.