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Challenging conventional wisdom on grief, a pioneering therapist offers a new resource for those experiencing loss When a painful loss or life-shattering event upends your world, here is the first thing to know: there is nothing wrong with grief. “Grief is simply love in its most wild and painful form,” says Megan Devine. “It is a natural and sane response to loss.” So, why does our culture treat grief like a disease to be cured as quickly as possible? In It’s OK That You’re Not OK, Megan Devine offers a profound new approach to both the experience of grief and the way we try to help others who have endured tragedy. Having experienced grief from both sides—as both a therapist and as a woman who witnessed the accidental drowning of her beloved partner—Megan writes with deep insight about the unspoken truths of loss, love, and healing. She debunks the culturally prescribed goal of returning to a normal, “happy” life, replacing it with a far healthier middle path, one that invites us to build a life alongside grief rather than seeking to overcome it. In this compelling and heartful book, you’ll learn: • Why well-meaning advice, therapy, and spiritual wisdom so often end up making it harder for people in grief • How challenging the myths of grief—doing away with stages, timetables, and unrealistic ideals about how grief should unfold—allows us to accept grief as a mystery to be honored instead of a problem to solve • Practical guidance for managing stress, improving sleep, and decreasing anxiety without trying to “fix” your pain • How to help the people you love—with essays to teach us the best skills, checklists, and suggestions for supporting and comforting others through the grieving process Many people who have suffered a loss feel judged, dismissed, and misunderstood by a culture that wants to “solve” grief. Megan writes, “Grief no more needs a solution than love needs a solution.” Through stories, research, life tips, and creative and mindfulness-based practices, she offers a unique guide through an experience we all must face—in our personal lives, in the lives of those we love, and in the wider world. It’s OK That You’re Not OK is a book for grieving people, those who love them, and all those seeking to love themselves—and each other—better.
First published in 1996. This new book gives voice to an emerging consensus among bereavement scholars that our understanding of the grief process needs to be expanded. The dominant 20th century model holds that the function of grief and mourning is to cut bonds with the deceased, thereby freeing the survivor to reinvest in new relationships in the present. Pathological grief has been defined in terms of holding on to the deceased. Close examination reveals that this model is based more on the cultural values of modernity than on any substantial data of what people actually do. Presenting data from several populations, 22 authors - among the most respected in their fields - demonstrate that the health resolution of grief enables one to maintain a continuing bond with the deceased. Despite cultural disapproval and lack of validation by professionals, survivors find places for the dead in their on-going lives and even in their communities. Such bonds are not denial: the deceased can provide resources for enriched functioning in the present. Chapters examine widows and widowers, bereaved children, parents and siblings, and a population previously excluded from bereavement research: adoptees and their birth parents. Bereavement in Japanese culture is also discussed, as are meanings and implications of this new model of grief. Opening new areas of research and scholarly dialogue, this work provides the basis for significant developments in clinical practice in the field.
Musaicum Books presents to you this unique and meticulously edited sea adventure collection: Content: Captain Charles Johnson: The History of Pirates R. L. Stevenson: Treasure Island Jack London: The Sea Wolf The Mutiny of the Elsinore A Son of the Sun Daniel Defoe: Robinson Crusoe Captain Singleton Tobias Smollett: The Adventures of Roderick Random Walter Scott: The Pirate Frederick Marryat: Mr. Midshipman Easy Masterman Ready; Or, The Wreck of the "Pacific" Edgar Allan Poe: The Narrative of Arthur Gordon Pym of Nantucket James Fenimore Cooper: The Pilot: A Tale of the Sea The Red Rover Afloat and Ashore: A Sea Tale Miles Wallingford Homeward Bound; Or, The Chase: A Tale of the Sea Thomas Mayne Reid: The Ocean Waifs: A Story of Adventure on Land and Sea Victor Hugo: Toilers of the Sea Herman Melville: Redburn White-Jacket Moby Dick Benito Cereno R. M. Ballantyne: The Coral Island: A Tale of the Pacific Ocean Fighting the Whales Jules Verne: The Voyages and Adventures of Captain Hatteras In Search of the Castaways; Or, The Children of Captain Grant 20 000 Leagues under the Sea Dick Sand: A Captain at Fifteen An Antarctic Mystery L. Frank Baum: Sam Steele's Adventures on Land and Sea Randall Parrish: Wolves of the Sea Charles Boardman Hawes: The Dark Frigate The Mutineers Joseph Conrad: The Nigger of the 'Narcissus' Lord Jim Typhoon The Shadow Line The Arrow of Gold Rudyard Kipling: Captains Courageous Ralph Henry Barbour: The Adventure Club Afloat Rafael Sabatini: Captain Blood The Sea-Hawk Jeffery Farnol: Black Bartlemy's Treasure Martin Conisby's Vengeance Henry De Vere Stacpoole: The Blue Lagoon The Garden of God
This is the first new full-scale anthology of Restoration and eighteenth-century drama in over sixty years. Concentrating on plays from the heyday of 1660-1737, it focuses especially on Restoration drama proper (1660-1688) and Revolution drama (1689-1714), with a smaller selection of plays from the early Georgian period (1715-1737) and a glimpse at the later Georgian period’s “laughing comedy” (1770s and 80s). It includes nine sub-genres (heroic romance, political tragedy, personal tragedy, tragicomic romance, social comedy, subversive comedy, corrective satire, menippean satire, and laughing comedy), with the preponderance of exposure given to the jewel of this theatre, its comedy. The core canonical plays from the era—from Dryden’s All for Love and Behn’s The Rover to Congreve’s The Way of the World and Sheridan’s School for Scandal—are all here, but so are a remarkably wide range of non-canonical works. There are many more plays by women than in any previous general anthology of drama of the period. Also included are a number of works from the neglected 1660s, whose comedies feature delightful, subversive, levelling folk elements. In all there are forty-one plays; each is fully annotated and prefaced with an historical introduction. Also included are a general introduction, head-notes for each genre, and a glossary.
The Broadview Anthology of Restoration and Early Eighteenth-Century Drama, Concise Edition, with twenty-one plays, is half the length of the full anthology without compromising its breadth. Concentrating on plays from the heyday of 1660-1737, it focuses on Restoration drama proper and Revolution drama, with a selection from the early Georgian period and the later Georgian period’s “laughing comedy.” Seven of the nine sub-genres (personal tragedy, tragicomic romance, social comedy, subversive comedy, corrective satire, menippean satire, and laughing comedy) of the full anthology are represented, with the preponderance of exposure given to the jewel of this theatre, its comedy. Each play is fully annotated and prefaced with an historical introduction. Also included are a general introduction, a statement of procedures, and a glossary.
Mennonite Family History is a quarterly periodical covering Mennonite, Amish, and Brethren genealogy and family history. Check out the free sample articles on our website for a taste of what can be found inside each issue. The MFH has been published since January 1982. The magazine has an international advisory council, as well as writers. The editors are J. Lemar and Lois Ann Zook Mast.
Equal parts mail art, data visualization, and affectionate correspondence, Dear Data celebrates "the infinitesimal, incomplete, imperfect, yet exquisitely human details of life," in the words of Maria Popova (Brain Pickings), who introduces this charming and graphically powerful book. For one year, Giorgia Lupi, an Italian living in New York, and Stefanie Posavec, an American in London, mapped the particulars of their daily lives as a series of hand-drawn postcards they exchanged via mail weekly—small portraits as full of emotion as they are data, both mundane and magical. Dear Data reproduces in pinpoint detail the full year's set of cards, front and back, providing a remarkable portrait of two artists connected by their attention to the details of their lives—including complaints, distractions, phone addictions, physical contact, and desires. These details illuminate the lives of two remarkable young women and also inspire us to map our own lives, including specific suggestions on what data to draw and how. A captivating and unique book for designers, artists, correspondents, friends, and lovers everywhere.