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Winner of the 2004 Agnes Lynch Starrett Poetry PrizeBlue on Blue Ground is about the body, desire, anxiety, and obsession—how what we want redeems and isolates us (and is sometimes used against us). These poems are artful yet accessible, lyrical yet direct, strange but recognizable.Smith's relentless self-examination, fear, sense of humor, and vulnerability are all laid to bare in crisp, precise language. From lonely observations, bizarre medical fascinations, emotion, loss, and honesty, Blue on Blue Ground constructs its internal and external worlds. The metaphorical city is also a "body," a place of exile and restoration, a symbol of hope, a catalyst for connection. The urban landscape is often the background for the moment or is the moment itself—the world looked at and sorted into words.Though at times dark, there's love to be found. Perhaps it's what drives this collection, colors its observations, and leads it to finally announce: "Someone is putting the world back together." Blue on Blue Ground wants to look at absolutely everything and believes that complete exploration of the physical and mental selves—fears and desires—is the key to moving and being completely alive in the material world.
Set in 1876 in the coal hills of Pennsylvania, the story follows two unwitting orphans, Patrick and Sissy Hughes, who are propelled on a desperate journey after witnessing the murder of their father. They carry with them a wooden box retrieved from a secret compartment beneath their father's bed. His dying words to them: "keep it safe, keep it hidden." Powerful men are looking for what's inside the box and they will do anything they can to get it. One hundred miles to the South, large crowds have gathered at the Centennial Exhibition in Philadelphia. Patrick and Sissy's father had promised to take them there for the Fourth of July celebration. Instead, they are running for their lives. Alone and on the run, they are pursued by their father's murderer, James McKenna, a Pinkerton Security Agent who is working undercover investigating the Molly Maguires for the Philadelphia and Reading Railroad. Patrick and Sissy's only hope is to unlock the mystery of the contents of the box: a diary, a translucent blue stone and a bag of blue ground. That hope lies in Philadelphia with Henry Carvill Lewis, a professor of mineralogy at the Academy of Natural Sciences. As they make their way to Philadelphia, their pursuers grow in numbers and Patrick and Sissy must fight against time and the odds to stay together.
"In the late twentieth century, residents of the Blue Ridge mountains in western North Carolina fiercely resisted certain environmental efforts, even while launching aggressive initiatives of their own. Kathryn Newfont provides context for those events by examining the environmental history of this region over the course of three hundred years, identifying what she calls commons environmentalism--a cultural strain of conservation in American history that has gone largely unexplored. Efforts in the 1970s to expand federal wilderness areas in the Pisgah and Nantahala national forests generated strong opposition. For many mountain residents the idea of unspoiled wilderness seemed economically unsound, historically dishonest, and elitist. Newfont shows that local people's sense of commons environmentalism required access to the forests that they viewed as semipublic places for hunting, fishing, and working. Policies that removed large tracts from use were perceived as 'enclosure' and resisted. Incorporating deep archival work and years of interviews and conversations with Appalachian residents, Blue Ridge Commons reveals a tradition of people building robust forest protection movements on their own terms."--p. [4] of cover.
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A tour de force, Aaron Smith’s fourth collection of poetry, The Book of Daniel, resists the easy satisfactions of Beauty while managing the contemporary entanglements of art, sex, and grief. Part pop-thriller, part queer rage, and part mourning, these poems depict not only the complications of representation in the age of social media but a critique of identity. Taking on subjects as diverse as the literary canon, his mother’s incurable cancer diagnosis, gay bashing, celebrity gossip, bigotry, violence on TV, and Alexander McQueen’s suicide, Smith proves that the confessional lyric is not dead. In tangents as wild as they are reigned, with his characteristic blend of directness, vulnerability and humor, these poems take on the world as it is, a world we love even as it resists all intimacy.
In his third poetry collection, Primer, Aaron Smith grapples with the ugly realities of the private self, in which desire feels more like a trap than fulfillment. What is the face we prepare in our public lives to distract others from our private grief? Smith's poetry explores that inexplicable tension between what we say and how we actually feel, exposing the complications of intimacy and the limitations of language to bridge those distances between friends, family members, and lovers. What we deny, in the end, may be just what we actually survive. Mortality in Smith's work remains the uncomfortable foundation at the center of our relationship with others, to faith, to art, to love as we grow older, and ultimately, to our own sense of who we are in our bodies in the world. The struggle of this book, finally, is in naming whether just what we say we want is enough to satisfy our primal needs, or are the choices we make to stay alive the same choices we make to help us, in so many small ways, to die.
In Hog Pilots, Blue Water Grunts, acclaimed journalist Robert D. Kaplan continues his exploration of the American military's challenging and varied commitments around the world. From protecting sea lanes, to providing disaster relief, to preparing for potential military confrontation with North Korea and Iran, Kaplan describes the astonishing, vital, and often unacknowledged operations regularly performed by American military personnel in the air, at sea, and on the ground. Vivid and illuminating, this book takes us deep into the highly technical and exotic cultures of the armed forces, telling soldiers' stories from the perspective of the troops on the ground.
In one of the most illuminating portraits of police work ever, Chief Charles Campisi describes the inner workings of the world’s largest police force and his unprecedented career putting bad cops behind bars. “Compelling, educational, memorable…this superb memoir can be read for its sheer entertainment or as a primer on police work—or both” (Kirkus Reviews, starred review). From 1996 to 2014 Charles Campisi headed NYPD’s Internal Affairs Bureau, working under four police commissioners and gaining a reputation as hard-nosed and incorruptible. During Campisi’s IAB tenure, the number of New Yorkers shot, wounded, or killed by cops every year declined by ninety percent, and the number of cops failing integrity tests shrank to an equally startling low. But to achieve those exemplary results, Campisi had to triple IAB’s staff, hire the very best detectives, and put the word out that corruption wouldn’t be tolerated. Blue on Blue provides “a rare glimpse inside one of the most secretive branches of policing…and a compelling, behind-the-scenes account of what it takes to investigate police officers who cross the line between guardians of the public to criminals. It’s a mesmerizing exposé on the harsh realities and complexities of being a cop on the mean streets of New York City and the challenges of enforcing the law while at the same time obeying it” (The New York Journal of Books). Campisi allows us to listen in on wiretaps and feel the adrenaline rush of drawing in the net. It also reveals new threats to the force, such as the possibility of infiltration by terrorists. “A lively memoir [told with] verve, intriguing detail, and a generous heart” (The Wall Street Journal) and “an expose of the NYPD’s Internal Affairs Bureaus [that is] enlightening and entertaining” (The New York Times Book Review), Blue on Blue will forever change the way you view police work.
"Even in our parceled-out, paved-over urban environs, nature is all around us, it is in us. It is us. This is what Rob Cowen discovered after moving to a new home in northern England. After ten years in London, he was suddenly adrift, searching for a sense of connection. He found himself drawn to a square-mile patch of waste ground at the edge of town. Scrappy, weed-filled, this heart-shaped tangle of land was the very definition of overlooked - a thoroughly in-between place that capitalism had no further use for, leaving nature to take its course. Wandering in meadows, woods, hedges, and fields, Cowen found it was also a magical, mysterious place, haunted and haunting, abandoned but wildly alive - and he fell in fascinated love."--Book jacket.