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This beautiful book by Scott Ferry is filled with ghostly plainsongs sung between fathers and daughters and sons (and who isn't one of these) as they evolve toward and eventually away from one another. There is an urgency here to harvest-before it's too late-that love particular to parents that rewrites itself in the palimpsest of a child. This is a book about sacred relationships and the power of tenderness. The poems in These Hands of Myrrh are ricochets from the front line born out of courage in the face of mortality. They have traveled through hard-earned wisdom to get to us. And as readers we can be thankful they arrived. -Gary Lemons, author of The Snake Quartet This collection immerses you gently, gradually, into a world where the mundane and the miraculous live side by side. Ferry shows us life and death, both the big moments (the birth of his son, the death of a neighbor, confronting alcoholism), as well as the small (gardening, a flight of birds, cleaning the fish tank). Before you know it, you are down in the underworld with him. Somehow, reality has shifted: ghosts communicate through streetlights. Trees have auras. The relationships between fathers and sons takes on a mythic quality. These poems are sharp, incisive, yet lyrical, often funny. Like all spiritual journeys, this book feels sometimes elemental and sometimes frightening, but always ends on a note of hope. -Lauren Scharhag, author of Languages, First and Last Don't let Scott Ferry's poems fool you and don't fail to let them captivate you. Their seemingly fragile beauty belies the tensile strength of a healer. They illustrate with precision the perspective of one who faces life and death on a daily basis, not losing either his grief over the inevitability of the former or the wonder and fleeting joy of the latter. Author Christopher Moore writes that children see magic because they never stop seeking it. Neither does Ferry. He illustrates a stippled landscape with flashes of gentle humor and softly graded shadows-repeated small touches, expertly placed, telling in the thought and affect they provoke in the reader. These poems linger long after reading them-for good reason. -Jonathan Yungkans, author of Beneath a Glazed Shadow
"In the Fall of 2010 I gave an assignment in my Appalachian Literature class at Berea College, telling my students to write their own version of "Where I'm From" poem based on the writing prompt and poem by George Ella Lyon, one of the preeminent Appalachian poets. I was so impressed by the results of the assignment that I felt the poems needed to be preserved in a bound document. Thus, this little book. These students completely captured the complexities of this region and their poems contain all the joys and sorrows of living in Appalachia. I am proud that they were my students and I am very proud that together we produced this record of contemporary Appalachian Life" -- Silas House
Widely praised for its balanced treatment of computer ethics, Ethics for the Information Age offers a modern presentation of the moral controversies surrounding information technology. Topics such as privacy and intellectual property are explored through multiple ethical theories, encouraging readers to think critically about these issues and to make their own ethical decisions.
When their eighty-five-year-old father dies, sparring siblings Maggie and Jake must face a question: How to break the bad news to their sister Amy, who has Down syndrome and has lived in a state home for years? Along the way, the pair find out just how much they don’t know about their family and each other. It seems only Amy knows who she really is.
This original and multidimensional book brings a refreshing new approach to the study of the arts of the Middle East. By dealing in one volume with dance, music, painting, and cinema, as experienced and practiced not only within the Middle East but also abroad, Images of Enchantment breaks down the artificial distinctions--of form, geography, 'high' and 'low' art, performer and artist--that are so often used to delineate the subjects and processes of Middle Eastern artistic culture. The eighteen essays in this book cover themes as diverse as Bedouin dance, the music of Arab Americans, cinema in Egypt and Iran, Hollywood representations of the Middle East, and contemporary Sudanese painting. The contributions come from scholars and critics and from the artists themselves. Together, they present a wide-ranging and holistic view of the arts in their social, political, anthropological, and gender contexts. Contributors: Walter Armbrust, Farida Ben Lyazid, Kay Hardy Campbell, Virginia Danielson, Marjorie Franken, Sondra Hale, Carolee Kent, Hamid Naficy, Salwa Mikdadi Nashashibi, Anne K. Rasmussen, Selim Sednaoui, Simon Shaheen, Rebecca Stone, Chaïbia Talal, Karin Van Nieuwkerk, William Young, Sherifa Zuhur.
B is for Burglar, from Sue Grafton's #1 New York Times bestselling Kinsey Millhone Alphabet mystery series Beverly Danziger looked like an expensive, carefully wrapped package from a good but conservative shop. Only her compulsive chatter hinted at the nervousness beneath her cool surface. It was a nervousness out of all proportion to the problem she placed before Kinsey Millhone. There was an absent sister. A will to be settled--a matter of only a few thousand dollars. Mrs. Danziger did not look as if she needed a few thousand dollars. And she didn't seem like someone longing for a family reunion. Still, business was slow, and even a private investigator has bills to pay. Millhone took the job. It looked routine. Elaine Boldt's wrappings were a good deal flashier than her sister's, but they signaled the same thing: The lady had money. A rich widow in her early forties, she owned a condo in Boca Raton and another in Santa Teresa. According to the manager of the California building, she was last seen draped in her $12,000 lynx coat heading for Boca Raton. According to the manager of the Florida building, she never got there. But someone else had and she was camping out illegally in Mrs. Boldt's apartment. The job was beginning to seem a bit less routine. It turned tricky when Beverly Danziger ordered Millhone to drop the case and it took on an ominous quality when Aubrey Danziger surfaced, making all kinds of wild accusations about his wife. But it only became sinister when Millhone learned that just days before Elaine Boldt went missing, her next-door neighbor and bridge partner had been murdered and the killer was still at large. A house destroyed by arson. A brutally murdered a woman. A missing lynx coat. An apartment burgled of valueless papers, another ransacked in a melée of mindless destruction. And more murder. As Millhone digs deeper into the case, she finds herself in a nightmarish hall of mirrors in which reality is distorted by illusion and nothing--except danger--is quite what it seems. "A" Is for Alibi "B" Is for Burglar "C" Is for Corpse "D" Is for Deadbeat "E" Is for Evidence "F" Is for Fugitive "G" Is for Gumshoe "H" Is for Homicide "I" Is for Innocent "J" Is for Judgment "K" Is for Killer "L" is for Lawless "M" Is for Malice "N" Is for Noose "O" Is for Outlaw "P" Is for Peril "Q" Is for Quarry "R" Is for Ricochet "S" Is for Silence "T" Is for Trespass "U" Is for Undertow "V" Is for Vengeance "W" Is for Wasted "X"