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For nearly twenty years, Laurin Bellg, MD has been present at the bedside of critically ill and dying patients. As she has worked to create an accepting and supportive relationship with them, her patients have shared with her the mysterious experience they sometimes have of apparently seeing beyond our physical world. Dr. Bellg tells her patients' engaging, powerful and sometimes humorous stories in her book, Near Death in the ICU: Stories from Patients Near Death and Why We Should Listen to Them, published in 2016 by Sloan Press. She also invites us to consider that bearing witness to a patient's near-death experience is a respectful and important part of medical care, a way for families to support their loved ones, and an important part of the patient's healing. A board-certified critical care physician, Dr. Bellg is the Chair of Medicine and ICU Medical Director for two busy intensive care units in NE Wisconsin. Dr. Bellg has also contributed to other publications about near-death studies and is an invited speaker throughout the United States on the topic.
PREFACE EARLY in the last century the hardy woodchoppers began to come west, out of Vermont. They founded their homes in the Adirondack wildernesses and cleared their rough acres with the axe and the charcoal pit. After years of toil in a rigorous climate they left their sons little besides a stumpy farm and a coon-skin overcoat. Far from the centers of life their amusements, their humors, their religion, their folk lore, their views of things had in them the flavor of the timber lands, the simplicity of childhood. Every son was nurtured in the love of honor and of industry, and the hope of sometime being president. It is to be feared this latter thing and the love of right living, for its own sake, were more in their thoughts than the irn mortal crown that had been the inspiration of their fathers. Leaving the farm for the more promising life of the big city they were as v Preface vii For my knowledge of Mr. Greeley I am chiefly indebted to David P. Rhoades, his publisher, to Philip Fitzpatrick, his pressman, to the files of the Tribune and to many books. NEW YORK CITY, April 7, 1900.OF all the people that ever went west that ex pedition was the most remarkable. A small boy in a big basket on the back of a jolly old man, who carried a cane in one hand, a rifle in the other a black dog serving as scout, skirmi her and rear guard-that was the size of it. They. were the survivors of a ruined home in the north of Vermont, and were traveling far into the valley of the St. Lawrence, but with no particular destination. Midsummer had passed them in their journey their clothes were covered with dust their faces browning in the hot sun. It was a very small boy that sat inside the basket andclung to the rim, his tow head shaking as the old man walked. He saw wonderful things, day after day, looking down at the green fields or peering into the gloomy reaches of the wood and he talked about them. Eben Holden strong man and had never been able to carry the wide swath of the other help in the fields, but we all loved him for his kindness and his knack of story-telling. He was a bachelor who came over the mountain from Pleasant Valley, a little bundle of clothes on his shoulder, and bringing a name that enriched the nomenclature of our neighborhood. I t was Eben Holden. He had a cheerful temper and an imagina-... tion that was a very vilderness of oddities. Bears and panthers growled and were very terrible in that strange country. He had invented an animal more treacherous than any in the woods, and he called it a swift. Sunlthin like a panther, he described the look of it-a fearsome creature that lay in the edge of the woods at sundown and made a noise like a woman crying, to lure the unwary. It vould light ones eye with fear to hear Uncle Eb lift his voice in the cry of the swift. Many a time in the twilight when the bay of a hound or some far cry came faintly through the wooded hills, I have seen him lift his hand and bid us hark. And when we had listened a moment, our eyes wide with wonder, he would turn and say in a low, half whispered tone S a swift.
What has happened to George Adamski since he wrote the famous incidents in Flying Saucers Have Landed? Since the memorable November 20, 1952, when he first made personal contact with a man from another world? Since December 13, 1952 when he was able to make photographs within 100 feet of the same saucer that had brought his original visitor? Inside The Space Ships is Adamski’s own story of what has happened to him since then. It begins with his first meeting, a few months later, with a second man from another world—his first meeting with one who speaks to him. This second visitor brings him to a Venusian Scout (flying saucer) and this, in turn, brings him to a mother ship. Later lie is conveyed in both a Saturnian Scout and a Saturnian mother ship. Adamski tells us what transpires in these space craft and what the men and women from other worlds have told him. Adamski’s photographs of flying saucers, originally published in Flying Saucers Have Landed, have since become world-famous as other witnesses in other parts of the world have succeeded in taking photographs identical with his. Now, however, in Inside The Space Ships, Adamski gives us 16 photographs and illustrations, no longer of Scouts (flying saucers) mostly, but of the great space ships from which they are launched. The main group of these photographs was taken in April, 1955, and neither the photographs nor a description of them has ever been published before.
"The initial stages of this book were developed together with Tihamer Salij"--Colophon.
Miami and Miami Beach from the ground up "This book provides an important--and readable--addition to the bookshelf addressing the context of contemporary Miami and Miami Beach. By presenting the built environment of the Miami area for its compelling variety and unique mélange of styles, the authors go far in interpreting a long overlooked portion of our continent."--Gregory W. Bush, coauthor of Miami: An American Crossroad A major urban center perched between vast natural ecosystems, Miami is known for a strikingly diverse built environment that is barely 100 years old. Within this brief span, the city has constantly reinvented itself, seeking a tangible identity as Florida's largest metropolis. In this invented landscape, architecture, landscape design, and urban planning have played a particularly important role in creating Miami's modern character and unique identity. Miami Architecture grew out of the Miami Architecture Project, a community-based, nonprofit association that organized more than a dozen local forums to develop deeper appreciation of architecture and the role of architecture in community revitalization. Ideal for residents, professionals, vacationers, and day-trippers, this authoritative guidebook provides a broad, accessible architectural overview of the notable buildings that can be found in the core of downtown Miami, Miami Beach, and Coconut Grove.
"The breadth of approaches represented here will make this an invaluable resource." Peter Spiro Charles Weiner Professor of Law Temple University Law School.