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The Eye Book is an essential read for anyone who wears glasses, for parents of children with eye problems, for students considering training in orthoptics or optometry, and for health-care professionals looking for an overview of eye health. It is written in a lively readable style and a glossary is provided for technical and medical terms. The structure and function of the eye and the mechanisms of vision are explained in the initial chapters, with explanatory illustrations. Eye problems, eye diseases and their treatment are examined, and the function of different eye-care professionals is explained. Modern medical techniques are also described, including laser treatment, transplantation of cells, and rejuvenation therapy which may give the possibility of restoring diminished sight. The book is illustrated throughout with helpful figures and explanatory illustrations, including 17 color plates.
The poetry of Shruti Das, from Odisha, India has reached me in Colombo, Sri Lanka, and impressed me, because they are also beautiful music to our ears and wonderful paintings to our eyes, all at once that swing us into a timeless melody. She makes silence speak through her poems, which she has written for you, me and everyone. They are about mothers and daughters pressed between expression and silence, spoken by quiet eyes. Some of the poems are about inequality, and social injustice, but presented in new and creative forms. The Lady of Myths tells us about the story of mankind, and the poem about mountains tells how man has been destroying our environment and molesting Mother Earth. Each poem makes us pause and think, as all poetry should be. Daya Dissanayake, Educationist,Writer, Activist, Sri Lanka I really enjoyed reading your poetry. It is gentle and profound Rosemarie Rowley. Poet, Ireland. Each poem is a nugget you can be proud of. They voice humanitarian concerns and are couched in passionate and precise expression. The language is chiselled to suit the feelings precisely. There are also echoes of Shakespeare and Eliot. I like the description of evening as Cleopatra stretching out on her barge in all her allure. The Song Unsung is another moving piece. I didnt realise so much poetic talent is bottled up in Shruti. Thomas Gray was right: Full many a gem of purest ray serene lies hidden - Prof. E. Nageswara Rao, Hyderabad, India
DigiCat Publishing presents to you this special edition of "Son of Power" by Will Levington Comfort, Zamin Ki Dost. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
A guidebook to the allusions of T.S. Eliot's notorious poem, The Waste Land , Reading The Waste Land from the Bottom Up utilizes the footnotes as a starting point, opening up the poem in unexpected ways. Organized according to Eliot's line numbers and designed for both scholars and students, chapters are free-standing and can be read in any order.
The full story of Aston House in the Second World War has never been told before. Its activities were top secret and as important to the Allied war effort as those of Bletchley Park, but in a different way. Situated near Stevenage, Aston House was one of many British country houses requisitioned during the Second World War by the Special Operations Executive (SOE). Born out of Bletchley Park, where it began life as SIS Section 'D' (for Destruction), Station 12's scientific and military personnel invented, made and supplied 'toys' for the Commandos, Special Boat Service, SAS, and resistance groups. Included in their deadly arsenal of weapons were plastic explosives, limpet mines, pressure switches, tree spigots, incendiary bombs, incendiary liquids and arrows, and a variety of time fuses. They worked on the tools for famous operations, such as the St Nazaire and Dieppe Raids, and the assassination of Himmler's deputy in Prague. Also revealed are the human stories of personnel stationed in this extremely remote village and the explosive pranks they played on each other, and certain visitors, which add some light relief to their destructive purpose.
WELCOME TO MEAT CITY Take a trip along the arterial highway, and make a left at the last exit to enter Meat City, where all manner of nasty things are clamoring to greet you. •Granger knows what it's like to kill a man. It's an assassin's job to know death. When the corpse of Granger's latest victim staggers to his feet though, all bets are off in "Meat City". •Christian has searched for purpose his entire life. Miserable relationships and false religions were all part of the journey. But he might find just what he needs hidden in tunnels beneath the "City of a Million Gods". •A pale, pleading face of a young boy stares at Kari from the dilapidated corpse of a house next door. She knows what it's like to need someone, and she's determined to help "The Patchwork Boy". •It's been decades since the dead rose up and dragged the world kicking, screaming, and bleeding into hell. Only a few humans, The Pale Riders, still venture to the outlands. In "Ballad of the Pale Riders", a legendary rider teaches a rookie what it means to be humanity's last hope. These and thirteen more slices of horror await you on the raw and bloodied streets. Enjoy your visit . . . .
Inspector Leroux had witnessed the execution of the Phantom of the Opera. Justice had been served. So he thinks, until letters in a feminine hand arrive, hinting at the curious coincidence of a masked composer, Erik Costanzi, thriving in an Italian opera house and married to the former Parisian Diva, Meg Giry. Driven by outrage and a desire for revenge, the inspector tracks the Phantom to his new home. But there is another ghost from Erik's past, one who dogs the Phantom's steps, who sabotages the production of his newest opera, and who threatens the peace he has found with Meg and his family. Book IV, Phantom Death, is the last in the Phoenix of the Opera series. It continues and closes the story begun in The Phoenix of the Opera, and continued in Out of the Darkness: The Phantom's Journey and The Phantom's Opera.
This sophisticated and comprehensive study is the first to situate Japanese American women's writing within theoretical contexts that provide a means of articulating the complex relationships between language and the body, gender and agency, nationalism and identity. Through an examination of post-World War II autobiographical writings, fiction, and poetry, Traise Yamamoto argues that these writers have employed the trope of masking—textually and psychologically—as a strategy to create an alternative discursive practice and to protect the self as subject. Yamamoto's range is broad, and her interdisciplinary approach yields richly textured, in-depth readings of a number of genres, including film and travel narrative. Looking at how the West has sexualized, infantilized, and feminized Japanese culture for over a century, she examines contemporary Japanese American women's struggle with this orientalist fantasy. Analyzing the various constraints and possibilities that these writers negotiate in order to articulate their differences, she shows how masking serves as a self-affirming discourse that dynamically interacts with mainstream culture's racial and sexual projections.