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Growing up, Alonzo Felder heard just a few stories about his great-grandfather A.S.J. Allen. In this book the author shares his process, providing guidance to others seeking to discover the stories of their ancestors. The Rev. A.S.J. Allen was a respected African American community leader in Alachua County, Florida. In 1904, he was killed by a white neighbor over a property border dispute. In the Jim Crow era, the white neighbor faced no consequences for his actions.
Box Broken Open is the story of Jacksonville architect, Ted Pappas, who was influenced by Frank Lloyd Wright, as well as Mid-Century Modern architects and proponents of Brutalism. Pappas often unites ancient tradition with contemporary vision.
Big data entrepreneur Allen Gannett overturns the mythology around creative genius, and reveals the science and secrets behind achieving breakout commercial success in any field. We have been spoon-fed the notion that creativity is the province of genius -- of those favored, brilliant few whose moments of insight arrive in unpredictable flashes of divine inspiration. And if we are not a genius, we might as well pack it in and give up. Either we have that gift, or we don’t. But Allen shows that simply isn’t true. Recent research has shown that there is a predictable science behind achieving commercial success in any creative endeavor, from writing a popular novel to starting up a successful company to creating an effective marketing campaign. As the world’s most creative people have discovered, we are enticed by the novel and the familiar. By understanding the mechanics of what Gannett calls “the creative curve” – the point of optimal tension between the novel and the familiar – everyone can better engineer mainstream success. In a thoroughly entertaining book that describes the stories and insights of everyone from the Broadway team behind Dear Evan Hansen, to the founder of Reddit, from the Chief Content Officer of Netflix to Michelin star chefs, Gannett reveals the four laws of creative success and identifies the common patterns behind their achievement.
In the first biography of Ginsberg since his death in 1997 and the only one to cover the entire span of his life, Ginsberg's archivist Bill Morgan draws on his deep knowledge of Ginsberg's largely unpublished private journals to give readers an unparalleled and finely detailed portrait of one of America's most famous poets. Morgan sheds new light on some of the pivotal aspects of Ginsberg's life, including the poet's associations with other members of the Beat Generation, his complex relationship with his lifelong partner, Peter Orlovsky, his involvement with Tibetan Buddhism, and above all his genius for living.
A revelatory look at how poet Allen Ginsberg transformed experiences of mental illness and madness into some of the most powerful and widely read poems of the twentieth century. Allen Ginsberg’s 1956 poem “Howl” opens with one of the most resonant phrases in modern poetry: “I saw the best minds of my generation destroyed by madness.” Thirty years later, Ginsberg entrusted a Columbia University medical student with materials not shared with anyone else, including psychiatric records that documented how he and his mother, Naomi Ginsberg, struggled with mental illness. In Best Minds, psychiatrist, researcher, and scholar Stevan M. Weine, M.D., who was that medical student, examines how Allen Ginsberg took his visions and psychiatric hospitalization, his mother’s devastating illness, confinement, and lobotomy, and the social upheavals of the postwar world and imaginatively transformed them. Though madness is often linked with hardship and suffering, Ginsberg’s showed how it could also lead to profound and redemptive aesthetic, spiritual, and social changes. Through his revolutionary poetry and social advocacy, Ginsberg dedicated himself to leading others toward new ways of being human and easing pain. Throughout his celebrated career Ginsberg made us feel as though we knew everything there was to know about him. However, much has been left out about his experiences growing up with a mentally ill mother, his visions, and his psychiatric hospitalization. In Best Minds, with a forty-year career studying and addressing trauma, Weine provides a groundbreaking exploration of the poet and his creative process especially in relation to madness. Best Minds examines the complex relationships between mental illness, psychiatry, trauma, poetry, and prophecy—using the access Ginsberg generously shared to offer new, lively, and indispensable insights into an American icon. Weine also provides new understandings of the paternalism, treatment failures, ethical lapses, and limitations of American psychiatry in the 1940s and 1950s. In light of these new discoveries, the challenges Ginsberg faced appear starker and his achievements, both as a poet and an advocate, even more remarkable.
The deluxe eBook edition of Elvis Costello’s Unfaithful Music & Disappearing Ink features two hundred additional photos and images, including more from Costello’s original lyrics notebooks and a selection of his family’s most intriguing documents and vintage photographs. Pages from his father’s scrapbooks from the early ‘50s Merseyside jazz scene are contrasted with a ledger of setlists and meager fees from the author’s early musical partnership in Rusty on the Liverpool club scene and other mementoes from Costello’s musical apprenticeship. There are numerous candid shots of the artist and his collaborators, both on stage and behind the scenes, along with a touching collection of signatures, mostly dedicated to the young Declan MacManus in his autograph book from the 1960s. Over an hour of excerpts from the audio edition are also featured, including several wonderful anecdotes that were ultimately omitted from the book. These additions serve to enrich the story of an incredible life in music, phenomenally well told. Born Declan Patrick MacManus, Elvis Costello was raised in London and Liverpool, grandson of a trumpet player on the White Star Line and son of a jazz musician who became a successful radio dance-band vocalist. Costello went into the family business and before he was twenty-four took the popular music world by storm. Unfaithful Music & Disappearing Ink, written entirely by Costello, offers his unique view of his unlikely and sometimes comical rise to international success, with diversions through the previously undocumented emotional foundations of some of his best-known songs and the hits of tomorrow. It features many stories and observations about his renowned cowriters and co-conspirators, though Costello also pauses along the way for considerations of the less appealing side of fame. The memoir provides readers with a master’s catalogue of a lifetime of great music. Costello reveals the process behind writing and recording legendary albums like My Aim Is True, This Year’s Model, Armed Forces, Almost Blue, Imperial Bedroom, and King of America. He tells the detailed stories, experiences, and emotions behind such beloved songs as “Alison,” “Accidents Will Happen,” “Watching the Detectives,” “Oliver’s Army,” “Welcome to the Working Week,” “Radio Radio,” “Shipbuilding,” and “Veronica,” the last of which is one of a number of songs revealed to connect to the lives of the previous generations of his family. Costello recounts his collaborations with George Jones, Chet Baker, and T Bone Burnett, and writes about Allen Toussaint's inspiring return to work after the disasters following Hurricane Katrina. He describes writing songs with Paul McCartney, the Brodsky Quartet, Burt Bacharach, and The Roots during moments of intense personal crisis and profound sorrow. He shares curious experiences in the company of The Clash, Tony Bennett, The Specials, Van Morrison, and Aretha Franklin; writing songs for Solomon Burke and Johnny Cash; and touring with Bob Dylan; along with his appreciation of the records of Frank Sinatra, David Bowie, David Ackles, and almost everything on the Tamla Motown label. The idiosyncratic memoir of a singular man, Unfaithful Music & Disappearing Ink is destined to be a classic.
A devastating accident took the life of one family member, left another in a coma, and sent me on a voyage that changed my life forever. It wasn't until that fateful day I truly believed the afterlife existed and how my life would be judged. Before the accident, everything I knew about the afterlife would have fit on the tip of a toothpick. I was never sure about whether it even existed. Now that I've had the experience, I have a different outlook altogether. We all make choices while we live out our life, and it is those choices that will decide our eternity. Some of the afterlife's mysteries are simple to understand, others not so much. It is regrettable that the only way to know for sure there is life after death is to experience it. Some, like myself, are lucky as we get to talk about it. I'm not sure if I read this book before my personal experience, I would believe a word of it. But I wrote it for those who want to know what will happen to them once their life on earth ends and what to expect once they reach the other side.
The Limits of Literary Historicism is a collection of essays arguing that historicism, which has come to dominate the professional study of literature in recent decades, has become ossified. By drawing attention to the limits of historicism—its blind spots, overreach, and reluctance to acknowledge its commitments—this provocative new book seeks a clearer understanding of what historicism can and cannot teach us about literary narrative. Editors Allen Dunn and Thomas F. Haddox have gathered contributions from leading scholars that challenge the dominance of contemporary historicism. These pieces critique historicism as it is generally practiced, propose alternative historicist models that transcend mere formula, and suggest alternatives to historicism altogether. The volume begins with the editors’ extended introduction, “The Enigma of Critical Distance; or, Why Historicists Need Convictions,” and then is divided into three sections: “The Limits of Historicism,” “Engagements with History,” and “Alternatives to History.” Defying convention, The Limits of Literary Historicism shakes up established modes to move beyond the claustrophobic analyses of contemporary historicism and to ask larger questions that envision more fulfilling and more responsible possibilities in the practice of literary scholarship.
First student of the Jack Kerouac School of Disembodied Poetics, Sam Kashner tells with humor and grace his life with the Beats. But the best story is Kashner himself -- the coming-of-age of a young man in the chaotic world of the very idols he hoped to emulate. This P.S. edition features an extra 16 pages of insights into the book, including author interviews, recommended reading, and more.