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A collection of cliches, parables, and other common sayings. These sayings have been passed down from generation to generation, and collected here in this book for people of all ages to enjoy and learn from.
From the caring to the crazy, a collection of wit and wisdom from real-life moms. Their words can bring love and laughter and make us feel warm and safe . . . or, occasionally, completely confused. Now, the author of Like My Father Always Said . . . has crowd-sourced quotable quotes from countless moms—and gathers them in this hilarious, heartwarming volume. “Every woman should have a nice gay man looking after her.” “You’re not hungry. Your mouth is bored.” “You like what you’re wearing?” “Have a drink, you’ll perk right up.” “Don’t be impressed by a man’s car—he may be living in it.” Covering a variety of subjects including “Questionable Wisdom,” “Unconditional Love,” and “Good Manners & Bad Behavior,” Like My Mother Always Said . . . is the perfect book for anyone whose mom never gave up on them.
From the author of Buzzy the Bumblebee comes a child's hilarious visual interpretation of such parental idioms and witticisms as "Hold your horses;" "Money doesn't grow on trees;" and "I have eyes in the back of my head." "Cat got your toungue?" My momma likes to say. I'm not sure what she means but I like it anyway. My cat has never tried to take my tongue away. But if he did, he'd find that it can stretch a long, long way.
Dorry Wood is notorious in Schuyler Point. Her antagonism plagues Marya Brock from the day they meet. Having left Seattle in favor of the small South Carolina town, Marya is finding it hard enough to settle without butting heads with the town crank. When Dorry finds out that Marya is the new reporter, it gets worse. Five years ago, the town paper led the charge in branding Dorry a pariah for being a lesbian and accused her of being complicit in her lover’s death. Peace might have finally been possible, but Dorry’s brother-in-law’s body is discovered on Marya’s front lawn. Under equal suspicion they both know that the only ones who will help them is themselves. With hostilities set aside they are confronted with the other feelings that smolder below the surface, but Marya finds no comfort in them. She read the reports from years ago—how can she care for a woman that she doesn’t trust?
Manualisation of psychodynamic psychotherapy poses a formidable challenge, but may prove indispensable in the effort to disseminate short-term psychodynamic treatments to a wider patient community. In the case of childhood emotional disturbances, the need for widely available treatments is particularly pressing especially once we pay heed to the emotional turmoil also underpinning many behavioural problems. Short-term Psychoanalytic Child Therapy (PaCT) is an emotion-oriented, play-focused treatment that aims to help the child to relinquish rigidly held maladaptive defence mechanisms that give rise to symptoms and interfere with healthy development. PaCT comprises twenty to twenty-five psychotherapeutic sessions conducted in alternating settings (parent-child, child alone, parents alone), in which a relational theme is uncovered and worked through. Here, the authors have created a manual for PaCT, successfully retaining the complexity of each treatment whilst making the application accessible for a greater range of settings. This manual will be of use to trainees and practising therapists alike.
"A poignant, satisfying romance." -Library Journal "Compelling."-Booklist "A good man is hard to find, but a romance by Eagle is a good place to start." -Kirkus Reviews Gorgeous, famous Savannah Stephens is back, and no one in her hometown, Sunbonnet, Wyoming, really knows why. Especially not Clay Keogh, the good-hearted rancher who has loved her from afar since they were kids. Savannah's young daughter looks just like Savannah's first love: local bad boy Kole Kills Crow, Clay's half-brother. Has Savannah come home to start a new relationship with Kole? Whatever her secrets, it's clear that she's deeply troubled and needs a shoulder to lean on. Clay is there for her, and she soon realizes that he's a very special man. But until she can bring herself to share the painful truth about her fall from stardom, the emotional distance between her and Clay may separate them forever. About the Author: Bestselling author Kathleen Eagle retired from a seventeen-year teaching career on a North Dakota Indian reservation to become a full-time novelist. The Lakota Sioux heritage of her husband and their three children has inspired many of her stories. Among her honors, she has received a Career Achievement Award from Romantic Times, the Midwest Fiction Writer of the Year Award, and Romance Writers of America's prestigious RITA Award. Library Journal named THE NIGHT REMEMBERS one of the five best romances of the year. Kathleen takes great pleasure in reading letters from readers who tell her that her books have tugged at their heartstrings, entertained, inspired, and even enlightened them. Visit her at www.KathleenEagle.com.
Playwrights for Tomorrow was first published in 1975. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. Four plays by writers who have worked under the auspices of the Office for Advanced Drama Research (O.A.D.R.) at the University of Minnesota are published in this volume, the thirteenth in the series of such collections. The O.A.D.R. program, which is directed by Arthur H.. Ballet, the series editor, provides an opportunity for promising playwrights to work with cooperating theatres in the production of their plays. The plays in this volume are The Tunes of Chicken Little by Robert Gordon, The Inheritance by Ernest A. Joselovitz, Blessing by Joseph Landon, and The Kramer by Mark Medoff. Three of the plays—those by Robert Gordon, Joseph Landon, and Mark Medoff—were produced by the American Conservatory Theatre of San Francisco. The play by Mr. Joselovitz was presented by the University of Minnesota Theatre in Minneapolis. In his introduction Mr. Ballet comments on the achievements and problems of the O.A.D.R. program. He reports that since the program began it had had about one hundred plays produced in some sixty theatres, not only in the United States but also in Australia, New Zealand, Scotland, and Canada. However, he writes, it became increasingly difficult to find playhouses willing to risk the challenge of new plays and playwrights. "More dangerous still," he writes, "has been the tendency for some directors to make theatre their own, highly personal art. Because so many of these directors only like what they know, and they don't know what to make of new work at all, they cannot truly judge and anticipate as a stage piece anything beyond their immediate ken. The rejections are cavalier and unthinking. The directors' lament that there are no new, exciting playwrights must be answered with the accusation that there really are damned few new, exciting, perceptive directors."
Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible to scholars, students, researchers, and general readers. Rich with historical and cultural value, these works are published unaltered from the original University of Minnesota Press editions. The books offered through Minnesota Archive Editions are produced in limited quantities according to customer demand and are available through select distribution partners.
By turns subtle and intense, disturbing and elusive, the stories in this collection are ultimately connected by themes of memory and loss, reality and fabrication, and by a richless of language that rests lightly on its carefully foundation.
Her goals to be seen had taken her on a journey through darkness. As the journey progressed, she grew deathly weary, barely able to cling to hope. Would there be any light to guide her to safety? At what point had her journey taken her so deep into the world's darkness?She was a good person, filled with great love, but no one seemed to notice. Would she survive the raw evil that she repeatedly encounters? How long could she continue making the tumultuous journey that had held her captive for so long? She was searching, crying out, reaching and grabbing for the perfect moment, the perfect situation to bring hope back into her life. The act of calling out soon turned into screams. Still, to no avail, the screams returned void. She continued her search for hope and happiness, the tears began to dry, and dreams faded away. What had she failed to see?