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"Center for the Arts Gallery, Towson University, February 10-April 1, 2017"--Cover.
"This essential retrospective of genre-defying artist and MacArthur Fellow Joyce J. Scott (b. 1948) showcases her expansive and versatile career. From early textiles and wearables, to performances and public artworks, to celebrated beaded sculptures and signature necklaces, her innovative oeuvre centers on the ancient, global technologies of needle and thread, beadwork, salvage, song, and storytelling. Interviews with Scott and essays from an extraordinary group of artists and scholars explore this dynamic practice, rooted in place, community, and intergenerational knowledge. Extensive new photography and rich archival images reveal a dazzling, provocative body of work that makes difficult subjects intimately felt, confronting racism, sexism, classism, ableism, and histories of trauma through wearable art and exquisite sculpture. With humor and pathos, Scott twists menacing stereotypes into grotesque and tender retorts that spur conversation and reflection, grief and laughter, learning and healing."--Back cover.
A compassionate, shame-free guide for your darkest days “A one-of-a-kind book . . . to read for yourself or give to a struggling friend or loved one without the fear that depression and suicidal thoughts will be minimized, medicalized or over-spiritualized.”—Kay Warren, cofounder of Saddleback Church What happens when loving Jesus doesn’t cure you of depression, anxiety, or suicidal thoughts? You might be crushed by shame over your mental illness, only to be told by well-meaning Christians to “choose joy” and “pray more.” So you beg God to take away the pain, but nothing eases the ache inside. As darkness lingers and color drains from your world, you’re left wondering if God has abandoned you. You just want a way out. But there’s hope. In I Love Jesus, But I Want to Die, Sarah J. Robinson offers a healthy, practical, and shame-free guide for Christians struggling with mental illness. With unflinching honesty, Sarah shares her story of battling depression and fighting to stay alive despite toxic theology that made her afraid to seek help outside the church. Pairing her own story with scriptural insights, mental health research, and simple practices, Sarah helps you reconnect with the God who is present in our deepest anguish and discover that you are worth everything it takes to get better. Beautifully written and full of hard-won wisdom, I Love Jesus, But I Want to Die offers a path toward a rich, hope-filled life in Christ, even when healing doesn’t look like what you expect.
Holistic nutritionist and highly-regarded blogger Sarah Britton presents a refreshing, straight-forward approach to balancing mind, body, and spirit through a diet made up of whole foods. Sarah Britton's approach to plant-based cuisine is about satisfaction--foods that satiate on a physical, emotional, and spiritual level. Based on her knowledge of nutrition and her love of cooking, Sarah Britton crafts recipes made from organic vegetables, fruits, whole grains, beans, lentils, nuts, and seeds. She explains how a diet based on whole foods allows the body to regulate itself, eliminating the need to count calories. My New Roots draws on the enormous appeal of Sarah Britton's blog, which strikes the perfect balance between healthy and delicious food. She is a "whole food lover," a cook who makes simple accessible plant-based meals that are a pleasure to eat and a joy to make. This book takes its cues from the rhythms of the earth, showcasing 100 seasonal recipes. Sarah simmers thinly sliced celery root until it mimics pasta for Butternut Squash Lasagna, and whips up easy raw chocolate to make homemade chocolate-nut butter candy cups. Her recipes are not about sacrifice, deprivation, or labels--they are about enjoying delicious food that's also good for you.
Fifteen years ago, in 1975, Genna Hewett-Meade's college roommate died a mysterious, violent, terrible death. Minette Swift had been a fiercely individualistic scholarship student, an assertive—even prickly—personality, and one of the few black girls at an exclusive women's liberal arts college near Philadelphia. By contrast, Genna was a quiet, self-effacing teenager from a privileged upper-class home, self-consciously struggling to make amends for her own elite upbringing. When, partway through their freshman year, Minette suddenly fell victim to an increasing torrent of racist harassment and vicious slurs—from within the apparent safety of their tolerant, "enlightened" campus—Genna felt it her duty to protect her roommate at all costs. Now, as Genna reconstructs the months, weeks, and hours leading up to Minette's tragic death, she is also forced to confront her own identity within the social framework of that time. Her father was a prominent civil defense lawyer whose radical politics—including defending anti-war terrorists wanted by the FBI—would deeply affect his daughter's outlook on life, and later challenge her deepest beliefs about social obligation in a morally gray world. Black Girl / White Girl is a searing double portrait of "black" and "white," of race and civil rights in post-Vietnam America, captured by one of the most important literary voices of our time.
January 1937. Clouds of war are gathering over a fogbound London. Twenty-eight year old Jack is poor, lonely and desperate to change his life. So when he's offered the chance to be the wireless operator on an Arctic expedition, he jumps at it. Spirits are high as the ship leaves Norway: five men and eight huskies, crossing the Barents Sea by the light of the midnight sun. At last they reach the remote, uninhabited bay where they will camp for the next year. Gruhuken. But the Arctic summer is brief. As night returns to claim the land, Jack feels a creeping unease. One by one, his companions are forced to leave. He faces a stark choice. Stay or go. Soon he will see the last of the sun, as the polar night engulfs the camp in months of darkness. Soon he will reach the point of no return - when the sea will freeze, making escape impossible. And Gruhuken is not uninhabited. Jack is not alone. Something walks there in the dark. This Special Edition Ebook will feature exclusive material: AUTHOR EXTRAS: Dark Matter ¿ An exclusive interview with Michelle Paver and an extended author biography with integrated photos of the landscape of Spitsbergen. COVER DESIGN: Dark Matter ¿ the jacket designer¿s take and cover design progression (5 x visuals). DARK MATTER - A SHORT FILM: Dark Matter ¿ Turning the novel into a short promotional film and Dark Matter - The Film Director's Cut, the rejected film scripts, the final film script and behind the scenes at filming (3 x visuals).
Greatly expanded and updated from the 1977 original, this new edition explores the evolution of the modern horror film, particularly as it reflects anxieties associated with the atomic bomb, the Cold War, 1960s violence, sexual liberation, the Reagan revolution, 9/11 and the Iraq War. It divides modern horror into three varieties (psychological, demonic and apocalyptic) and demonstrates how horror cinema represents the popular expression of everyday fears while revealing the forces that influence American ideological and political values. Directors given a close reading include Alfred Hitchcock, Brian De Palma, David Cronenberg, Guillermo Del Toro, Michael Haneke, Robert Aldrich, Mel Gibson and George A. Romero. Additional material discusses postmodern remakes, horror franchises and Asian millennial horror. This book also contains more than 950 frame grabs and a very extensive filmography.
The first in-depth study of Vladimir Nabokov’s humour, investigating its physical aspects such as farce, slapstick, sexual and scatological humour Offers the first in-depth study of Nabokov’s humour Presents a revisionist reading of Nabokov Examines the metaphysical aspects of Nabokov’s humour Examines the sexual and scatological aspects of Nabokov’s humour Applies humour theory (e.g. those of Hobbes, Bergson, Freud) to Nabokov’s texts Compares Nabokov’s humour to that of his Russian predecessors (e.g. Pushkin, Gogol, Chekhov) and to literary humourists such as Rabelais, Swift, Joyce Many critics classify Vladimir Nabokov as a highbrow humourist, a refined wordsmith overly fond of playful puzzles and private in-jokes whose art appeals primarily to an intellectually-sophisticated readership. This study presents a more balanced portrait, placing equal emphasis on the broader, earthier humour that is such a marked feature of Nabokov’s writing, which draws on the human body and all things physical for its laughs: sex and scatology, farce and slapstick. Moving between the metaphysical and the physical, the cosmic and the comic, mind and matter, it presents Nabokov as a writer at home in both high and low forms of humour, a comedian who is capable of producing as many belly laughs as brainteasers, and of appealing to a much wider readership than is commonly supposed.
From the author of Bellefleur: A “psychologically incisive” glimpse into the mind of a deranged predator and the boy he abducts to be his son (Booklist). Robbie Whitcomb is five years old when he’s taken from his mother in a mall parking lot. In her attempt to chase the kidnapper, she’s left badly injured and permanently disfigured. Such are the methods of the man who calls himself Daddy Love—a man known to the rest of the world as charismatic preacher Chester Cash. For the next six years, Robbie is to be Daddy’s son. That means doing whatever Daddy says—and giving him whatever he wants. Soon Robbie learns to accept his new name, Gideon. He also learns that he is not the first of Daddy Love’s sons. And that each of the others, after reaching a certain age, was never seen again. As Robbie’s mother recovers from her wounds, her life and marriage are a daily struggle. But as years go by, she maintains a flicker of hope that her son is still alive. Meanwhile, Robbie approaches the “bittersweet age” with no illusions about his fate. But somewhere within this tortured child lies a spark of rebellion. And he knows all too well what survival requires. “After all these years, Joyce Carol Oates can still give me the creeps.” —Marilyn Stasio, The New York Times Book Review “A lean and disturbing tale that reverberates after its ending.” —The Columbus Dispatch “Oates makes us squirm as she forces us to see some of the action through Love’s twisted and warped perspective.” —Kirkus Reviews “This unsettling tale showcases Oates’s masterful storytelling.” —Publishers Weekly