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This is a detective story set in 1980s Shrewsbury and Toronto. A social worker, Philip Eyre, searches for the father of a baby girl and finds himself obsessed by the girl’s mother who ends up in psychiatric hospital after trying to commit suicide. While investigating the case, Philip comes to question his own life – his own fathering and father.The case apparently solved, Philip takes a job in Toronto as a researcher but becomes haunted by his own past. He returns to England, and a new obsession with the case gathers pace. Is the baby related to him? Are they connected by some strange literary provenance – Charlotte Bronte’s novel, Jane Eyre? By now he is randomly switching from one possibility, one bizarre plot about orphans and illegitimacy, to the next. He suffers a breakdown; the pursuit of an answer has turned back in on him; now he is the one who feels pursued. The Book of Guardians is a haunting novel that leaves readers wondering whether it is possible to recall and know your own past with any degree of certainty.
You can follow the beaten path and call yourself an entrepreneur or you can blaze your own trail and really be one. When Derek Sivers started CD Baby, he wasn’t planning on building a major business. He was a successful independent musician who just wanted to sell his CDs online. When no one would help him do it, he set out on his own and built an online store from scratch. He started in 1998 by helping his friends sell their CDs. In 2000, he hired his first employee. Eight years later, he sold CD Baby for $22 million. Sivers didn’t need a business plan, and neither do you. You don’t need to think big; in fact, it’s better if you don’t. Start with what you have, care about your customers more than yourself, and run your business like you don’t need the money.
A game's creation as told by its creator, perhaps the best rpimer on game design.
Comic book & cartoon art.
Biography
I’ve never been the sort of man who needed a woman. I’ve never needed anyone, in fact. The Lost Breed MC gives me all that I could ever ask for. They’re family, and now they’re in danger. The Hand is inching closer and closer to our inner circle, and he’s never been more of a threat than he is right now. Jason, Ryder’s nephew, conveniently reappears while The Hand is making power moves. I’m not blind to coincidence. Something is amiss. Not only do I have my hands full dealing with a killer, but there’s a beautiful brown-haired girl drawing circles around my heart and making things more complicated. Love has never been on my radar, but this woman won’t give up. She’s in as much danger as I am, if not more. I might not be enough to stand between her and the man who has been making the last year of my life a living hell, but I’m sure going to try. She’s worth it. My MC is worth it. Together, they’re all I have left in the world.
One by one, four ducklings find the courage to jump into the pond and paddle with Mama Duck, until only Little Quack is left in the nest, trying to be brave.
Actor and director John Derek was born in Hollywood, where his striking good looks helped get him a contract with David O' Selznick. Derek's career took off after Humphrey Bogart made him his costar in the cultish noir Knock at Any Doors. Derek appeared in such Academy Award-nominated films as All the King's Men, Run for Cover, The Ten Commandments and Exodus, and worked with directors like Nicholas Ray, Cecil B. DeMille, Otto Preminger and others. He was a competent, dedicated performer even in his last, trivial roles. In the 1960s, his career in decline, he began directing his own films. Although critics panned the string of movies he made starring his three wives--Ursula Andress, Linda Evans and Bo Derek--some were box-office hits, like Tarzan, the Ape Man. This biography covers his extraordinary life and career, with extensive analysis of his films.
Derek Jarman's place in the history of film is assured by virtue of his vibrant, defiant films that experiment with the very process of film-making and create new forms. His paintings, their excitements and their profundity, are less well known. Michael Charlesworth sheds light on the varied ramifications of Jarman's artistic practice from his years at Prospect Cottage, Dungeness, and provides the first book-length study of his interest in depth psychology. He draws on Jarman's paintings, especially his landscapes from the 1960s and 70s, his multiple series such as 'black' and 'broken glass', GBH, Queer and Evil Queen, and his last Ecstatic Landscapes (1991-3). He also showcases Jarman's excellence as a writer with respect to his memoir, Kicking the Pricks. In a novel approach to Jarman's cinema, selecting films such as Journey to Avebury (1973), Caravaggio (1986), The Garden (1990) and Blue (1993), Charlesworth emphasizes themes and artistry rather than narrative. Exploring the ways in which Jungian and post-Jungian psychology were absorbed into Jarman's varied works, Derek Jarman's Visionary Arts provides a fresh perspective on his painting, film and writing. It celebrates him as one of the major British artists of the late 20th century, engaging with current debates about queer sexualities, environmentalism and climate catastrophe.
Derek Mahon (1941–2020) is widely recognized as one of the most important Irish poets of his generation. This collection of new critical essays offers an important retrospective assessment of the nature of his poetic achievement. Bringing together many leading scholars of modern and contemporary Irish poetry, including a notable number of accomplished poet-critics, its contributors range widely across Mahon’s body of work. Their essays offer fresh considerations of the biographical, geographical and literary contexts that shaped his poetic voice. This includes paying attention not only to more familiar influences but also to previously little considered interlocutors. The stylistic and formal achievement of his voice is re-evaluated in ways that range from attentive close readings to considerations of his controversial practice of self-revision, and his engagements with music and experiments in translation. The politics of a poet often misleadingly considered apolitical are also reframed to take in the engagements of his early work through to the ecocritical commitment of his later poetry. Indeed, a notable aspect of this book is the consideration it gives to all the phases of Mahon’s career. As a whole, the collection opens up many new ways of reading and understanding Mahon’s important body of work.