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‘A heartwarming story of friendship, courage and the things that unite us all.’ Fiona Higgins At the age of ninety-two, Marie runs a much-loved café from the house her single mother Rose built in the 1920s. A warm and welcoming refuge for many, Marie is determined not to let a downward spiral in her health get in the way of her busy life helping others. Dee, the highly respected principal of a local public school, is facing the biggest challenge of her career – launching an inter-faith curriculum to an unwelcoming school community. But will her own background as a Lebanese Muslim immigrant work against her? Isla, the young marketing guru tasked with helping Dee launch the campaign, has suffered the greatest loss of all, and is haunted by a devastating secret from her past. Letters to My Yesterday is a moving and tender portrayal of female strength, hardship and friendship, and that beautiful moment when someone comes into your life at just the right moment, and changes it forever.
I knew I liked to write when I was a teenager, locking myself in my room. I was angry, frustrated and needed a positive outlet. I was tired of breaking things. I was sad having to pick up pieces of my little treasures. So I picked up a pencil to write about how I felt and why I was being self-destructive. I was determined to find a way to diffuse the confusion in my head. Taught very early to pray, I'd put my prayers on paper. Seeing something written brought me back into reality. I had a reference point. Something I could read over and over to remind myself who I was and that I would be okay. This is my story of survival. My journey from the traumatic experience of being molested countless times by my step-father while living within the strict religious practices of Jehovah's Witnesses to my healing process with Parents United. I thought my life of confusion, mistrust and low self-esteem could never change. As I got older, I attracted more dysfunction in my choices. I didn't know I could change that. I didn't know any better. I became afraid for my children. I thought I was crazy and didn't have good parenting skills. After years of therapy, I learned to have control over my life and how to take the power back that I kept giving away. I am no longer a victim. It has been a long and twisty road. Today, I am proud to be happy, healthy and productive in my world. I am proud to be a survivor! I hope to inspire others and give them hope that the craziness in their heads can go away. I want to keep talking about this until the cycle is broken and all children are safe.
When John Millington Synge and Molly Allgood fell in love, he was thirty-five, she nineteen. Neither knew that he had Hodgkin's disease, of which he was to die in three years. Synge had already achieved recognition as a playwright--translations of two of his plays had been performed in Berlin and Prague--and he was codirector, with Yeats and Lady Gregory, of the Irish National Theatre Society. Molly had started her acting career the year before, in the newly opened Abbey Theatre, with a walk-on part in Synge's Well of the Saints. She had been promoted from crowd scenes to bit parts to lead roles in Riders to the Sea and The Shadow of the Glen. She was still only a member of the company, however, while Synge was a director, whose codirectors disapproved of fraternization. Synge and Molly also faced the disapproval of two widowed mothers. Barring an occasional holiday trip or company road tour, they could seldom be alone together, except on secret afternoon meetings for long walks in the country. Hence their hundreds of letters. Molly's letters do not survive; they apparently were destroyed when Synge died. But his letters convey her mercurial charm, her openness, her love of life, her impulsiveness, and her temper--as violent as his own. What they convey of him (when he is not reproving her or remonstrating with her, as he does in the early months of their relationship) is the love of nature, the poetic language, the bittersweet irony, the elemental quality of emotion, that we know from the plays. His concern for his craft is seen as he struggles with The Playboy. ("Parts of it are not structurally strong or good. I have been all this time trying to get over weak situations by strong writing, but now I find it won't do, and I am at my wit's end.") Synge was quite unperturbed by the violent outrage and near-riots the play provoked. ("Now we'll be talked about. We're an event in the history of the Irish stage," he wrote cheerily.) As his illness progresses, following operations in 1907 and 1908, there is great poignancy in the gradual abating of references to marriage plans and in the shift of salutation from "Dearest Changeling" to "My dearest child." After Synge's death his friends and biographers discreetly avoided mention of Molly, who under her stage name of Maire O'Neill became one of the leading actresses of the Irish theater and lived until 1952. His letters to her have not been published before, except for the few quoted in Greene and Stephens' 1959 biography. A primary source for the study of Synge and the Irish theater movement, the letters include poems inspired by Molly and extensive information about Abbey Theatre business. In addition to a biographical introduction, Ann Saddlemyer has included a map of the Wicklow and Dublin areas and numerous photographs of both Synge and Molly.
An authentic collection of over 150 letters from a World War I soldier to his beloved, beginning with his deployment from his Chicago hometown in 1917, until the end of the war in late 1918. His very eloquent letters bring the reader inside a WWI soldier's life, from boot camp in Fort Logan, Texas, to the trenches of France. He chronicles, firsthand, many familiar historical figures and events, while depicting both the similarities and changes in American life almost a century ago. Recently, additional letters were added, provided by the soldier's family.
"Letter writing at the turn of the (19th) century was an important activity for the people of France. Those who received letters from family and friends alike usually kept the hand-written texts sent to them as precious gifts. That is why this collection of letters by and to one of the greatest saints of modern times is so interesting to us today. ..." [from back cover]