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We have become fixated on ascent in our lives: achieving more, being quicker, and rising up. But what if we are missing the richest life lessons by repressing the difficulties we experience? Both ascent and descent are vital in life. Yet, whilst we are educated on how best to ascend, it is rare we are supported as we descend. Instead, we are encouraged to hide those times from ourselves and others. Richard's descent was epic. From playing lead roles on West-End stages to receiving a diagnosis of three months to live with a rare cancer. In this heartfelt and moving story, Richard offers a glimpse into his year of monumental descent. He invites us to accompany him as he navigates loss, grief, and heartache in a tale of the beauty and the ugliness of the human condition. How, when illness struck, unexpected love and compassion became the secret healer. Something Richard was determined to share by setting up a charity for others with blood cancer. As a Kite Falls offers food for thought and medicine for the soul. Richard's humility, humour, and grace shine through on every page. He uses the flow of the seasons and the deceptively simple art of haiku to bring us closer to the importance of space and pause in our lives. Richard's training in psychotherapy adds a deeper layer of understanding of what it means to be human, while acknowledging that none of us can truly make sense of the load others carry. In a world drowning in noise, As a Kite Falls gifts us a place of quietening down to listen to our own whispers.
Homan Walsh loves to fly his kite. And when a contest is announced to see whose kite string can span Niagara Falls, Homan is set on winning, despite the cold and the wind—and even when his kite is lost and broken. Homan's determination is beautifully captured in this soaring, poetic picture book that features Terry Widener's stunning acrylic paintings. Both author and illustrator worked with experts on both sides of the falls to accurately present Homan Walsh's story. The book also includes an extensive author's note, timeline, bibliography, and further resources.
It would be really easy to answer the main question of this text: What is flying? The investigation issolelyabout how todelinewhat flying is Kw/does one define flying?This question,at first, depends on thescalesand ieferencepoints.So,Invedoesonedefineflying?' is essemial b/ related to the question of 'with referred to what, does onedefineflying?' Ard in this point, just likethe impossibilkyd an owla r locati:m or address of the space and place itself, there is an impossibility. To surpass this impossibility, we have linguistic stmouiesand phrases, such as In itsessenoe 'truly; 'as such',"by definition', by itself' in itself' etc. Therefore, to go be and this impossibility whili comes with the lack of frame of references, we ask:'what is flying in its essence?; 'What is flying as suchr 'what truly is flying?' 01'what is truly flying?' ('truly, what is flying?' and 'what is flying is uubir),"what is flying in itselfr'what is flying in ItillretC.We ask becausewewant to have a definition by itself, that doesn't need any kind of reference (tool from) at fiist.We want to have a definition that Weis to nothing or rgth ing othw than itself, and also, we want this definition to be useful regarding that it can be the absolute reference that all the other perspectives regarding flying will refer to eventually. In slon, we ask: 'What is flying as such?' wh i:h means 'what is flying as flVilagr This as such at 'accuse (or the A ls-st tulatml when it is probkmattied, can open up new ways of thinking, especially in phenomenology. Hence the begin­ning of this text begins.
Traces the unlikely friendship of a wealthy Afghan youth and a servant's son in a tale that spans the final days of Afghanistan's monarchy through the atrocities of the present day.
When Tai Shan and his father, Baba, fly kites from their roof and look down at the crowded city streets below, they feel free, like the kites. Baba loves telling Tai Shan stories while the kites--one red, and one blue--rise, dip, and soar together. Then, a bad time comes. People wearing red armbands shut down the schools, smash store signs, and search houses. Baba is sent away, and Tai Shan goes to live with Granny Wang. Though father and son are far apart, they have a secret way of staying close. Every day they greet each other by flying their kites???one red, and one blue???until Baba can be free again, like the kites. Inspired by the dark time of the Cultural Revolution in China, this is a soaring tale of hope that will resonate with anyone who has ever had to love from a distance.
This book investigates how Japanese participants accommodate to and make use of genre-specific characteristics to make stories tellable, create interpersonal involvement, negotiate responsibility, and show their personal selves. The analyses of storytelling in casual conversation, animation narratives, television talk shows, survey interviews, and large university lectures focus on participation/participatory framework, topical coherence, involvement, knowledge, the story recipient’s role, prosody and nonverbal behavior. Story tellers across genre are shown to use linguistic/paralinguistic (prosody, reported speech, style shifting, demonstratives, repetition, ellipsis, co-construction, connectives, final particles, onomatopoeia) and nonverbal (gesture, gaze, head nodding) devices to involve their recipients, and recipients also use a multiple of devices (laughter, repetition, responsive forms, posture changes) to shape the development of the stories. Nonverbal behavior proves to be a rich resource and constitutive feature of storytelling across genre. The analyses also shed new light on grammar across genre (ellipsis, demonstratives, clause combining), and illustrate a variety of methods for studying genre.