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It’s a game of cowboys and aliens as Earth is invaded, and mankind has to scramble to survive… and find love… in the far reaches of the wastelands. Montana rancher Caleb O’Hara can see the future—and what he sees gives him pause. Not only are aliens about to invade earth with devastating results, but his beloved wife, Jane, is going to have to adapt to a markedly different way of life if they’re all going to keep breathing. Caleb is circling the wagons, preparing his small family—his wife and two younger brothers—for the cataclysm to come. Question is, can they all endure not only the near-apocalypse, but the new relationships they’ll have to forge if they want to survive?
The winner of more awards than any editorial writer in the Albany Times Union's history, Jim McGrath was both an Albany institution and a keen observer of the world beyond his beloved adopted city. When he died in 2013 at the age of fifty-six, the newspaper lost a writer who combined a passionate advocacy for society's most vulnerable people with a scathing disregard for the elite whose actions created an underclass in the United States. His writing was often elegiac, but his take on his adopted home state of New York and his beloved Albany was variously bemused, witty, irreverent, and indignant. He could relate to the plight of the minimum-wage worker as easily as he could talk to a US senator, and he feared no one. His editorials and commentaries charted many of the most critical issues in New York and the country: the death penalty, civil liberties, gay rights, historic presidential campaigns, the economy, terrorism, and more—all with an incisiveness that remains relevant, if not more so, in the present political era. In addition to his editorials and op-eds, I'll Be Home contains essays, critiques, and other writings that have never before been published, as well as appraisals of his work and life by former colleagues Rex Smith, Fred LeBrun, Dan Lynch, and others. The book is both a tribute to a memorable newspaperman and an insider's perspective on politics and life through the lens of an editorial writer, a position that Jim described as "a great seat at a really weird show."
Two late-developing nations, Japan and Italy, similarly obsessed with achieving modernity and with joining the ranks of the great powers, have traveled parallel courses with very different national identities. In this audacious book about leadership and historical choices, Richard J. Samuels emphasizes the role of human ingenuity in political change. He draws on interviews and archival research in a fascinating series of paired biographies of political and business leaders from Italy and Japan. Beginning with the founding of modern nation-states after the Meiji Restoration and the Risorgimento, Samuels traces the developmental dynamic in both countries through the failure of early liberalism, the coming of fascism, imperial adventures, defeat in wartime, and reconstruction as American allies. Highlights of Machiavelli's Children include new accounts of the making of postwar Japanese politics—using American money and Manchukuo connections—and of the collapse of Italian political parties in the Clean Hands (Mani Pulite) scandal.The author also tells the more recent stories of Umberto Bossi's regional experiment, the Lega Nord, the different choices made by Italian and Japanese communist party leaders after the collapse of the USSR, and the leadership of Silvio Berlusconi and Ishihara Shintar on the contemporary right in each country.
The residents of Pittsburgh's East End controlled as much a 40% of America's assets at the turn of the last century. Mail was delivered seven times a day to keep America's greatest capitalists in touch with their factories, banks, and markets. The neighborhood had its own private station of the Pennsylvania Railroad with a daily non-stop express to New York's financial district. Many of the world's most powerful men - princes, artists, politicians, scientists, and American Presidents such as William McKinley, Teddy Roosevelt, William Taft, Calvin Coolidge, and Herbert Hoover, came to visit the hard-working and high-flying captains of industry. Two major corporations, Standard Oil and ALCOA Aluminum were formed in East End homes. It was the first neighborhood to adopt the telephone with direct lines from the homes to the biggest banks in Pittsburgh, which at the time was America's fifth largest city. The story of this neighborhood is a story of America at its greatest point of wealth and includes rags-to-riches stories, political corruption, scandals, and greed. The history of this unique piece of American geography makes for enjoyable reading that will satisfy a large cross section of readers.
Previously known as an art-world figure, but now regarded as an important poet, Frank O'Hara is examined in this study. It traces the poet's "French connection" and the influence of the visual arts on his work. This edition includes a new introduction with a reconsideration of O'Hara's lyric.
Providing a synthesis of New York's artistic and literary worlds, this book uses social and philosophical problems involved in reading a coterie to propose a language for understanding the poet, art critic, and Museum of Modern Art curator, Frank O'Hara.
Ang Lee (b. 1954) has emerged as one of cinema's most versatile, critically acclaimed, and popular directors. Known for his ability to transcend cultural and stylistic boundaries, Lee has built a diverse oeuvre that includes films about culture clashes and globalization (Eat Drink Man Woman, 1994, and The Wedding Banquet, 1993), a period drama (Sense and Sensibility, 1995), a martial arts epic (Crouching Tiger, Hidden Dragon, 2000), a comic book action movie (Hulk, 2003), and an American western (Brokeback Mountain, 2005). The Philosophy of Ang Lee draws from both Eastern and Western philosophical traditions to examine the director's works. The first section focuses on Taoist, Confucian, and Buddhist themes in his Chinese-language films, and the second examines Western philosophies in his English-language films; but the volume ultimately explores how Lee negotiates all of these traditions, strategically selecting from each in order to creatively address key issues. With interest in this filmmaker and his work increasing around the release of his 3-D magical adventure The Life of Pi (2012), The Philosophy of Ang Lee serves as a timely investigation of the groundbreaking auteur and the many complex philosophical themes that he explores through the medium of motion pictures.
Poetry has often been defined by its closure, its condensation of meaning and value into discrete, self-referential textual objects. Affect, Psychoanalysis and American Poetry challenges the dominant metaphor of poetic containers by turning to recent poetic texts that represent the contagious and uncontainable feelings of anxiety, grief, shame, and rage. From modernists Wallace Stevens to mid-century poets Randall Jarrell, Robert Creeley and Ted Berrigan, and finally to contemporary practitioners Aaron Kunin and Claudia Rankine, John Steen argues that new poetic techniques arise from the poetic productivity of negative affects, and that a new model of poetic value can be found in poems that are-instead of containers-permeable, social spaces of intimacy, attachment, and withdrawal. Drawing from object relations, psychoanalysis, queer theory, and affect theory, Affect, Psychoanalysis, and American Poetry finds poetry's singularity in its unique capacity to represent anew the transmissible, relational, and uncontainable valences of feeling that structure and destabilize social life.
Frank O’Hara’s writing is central to any consideration of 20th century American poetry. This collection of essays, the first to be dedicated to O’Hara in nearly two decades, asks why O’Hara remains so important to 21st century readers and writers of poetry. The book is transatlantic in tone, combining American scholarship with a wide sampling of British writers. For many, O’Hara’s distinctive appeal depends on his witty depictions of urban experience, his relationship to the painters of Abstract Expressionism and the exhilarating immediacy of his poetic voice. Yet these chatty and approachable qualities coexist with a testing engagement with currents in European and American modernism. Frank O’Hara Now offers a comprehensive picture of the poet, presenting the conversational insouciance of the writing alongside its more intransigent features.