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“I wish I’d read this book before everything I went through.’ Sumeer, Part-time writer, full-time lover ‘Author may be exaggerating some stuff. Not everything has to be believed.’ Priya Jain, 100-meter specialist, bad at marathons ‘My favourite travel companion.’ Kanika Malhotra, Gypsy with a vintage car ‘If you know your destination, your speed would tell you the time needed to cover the distance. But what if the distance is zero and the destination is inside of you? How much time does it take then? More importantly, which vehicle do you choose?’ Maria, Sumeer, Kanika and Nigel embark on a similar journey at different points in their lives, to realise that love can have a different meaning for everyone, that no love can have a different meaning for everyone, that no love is greater than the other, and that love comes with possibilities, not limitations. Wandering Wheels is a gripping, stay-up-all-night treat to all the anxious souls trying to discover their places in this unfair yet beautiful world. It gives a lesson or two about unconditional love and forgiveness, incessant pain and liberation, and the serendipitous twists and turns fate brings in this journey called life, from one wheel to another.
In 1989 Dr. Robert Vande Kappelle cycled solo cross-country. The 3,400-mile trip was the seed project for the Washington County (Pennsylvania) chapter of Habitat for Humanity. For forty-two days he went "Homeless for Habitat," placing himself and his personal needs in the hands of strangers he met along the way. At the beginning he cycled across some of the most mountainous--and spectacular--terrain in America. After he crossed the Rockies, a nagging headwind arose, which only intensified with time. That, coupled with a deteriorating bicycle--along one of the most desolate stretches of the journey--produced spiritual testing of epic proportions.He was tempted to compromise the integrity of the trek, then to quit the trek, and finally to curse his circumstances. He sensed he was climbing an invisible mountain, whose top could not be reached. After venting his anger and frustration, he discerned that tailwinds and flat terrain rarely evoke wisdom. Insight flows freely, however, from the watershed atop life's invisible mountains.The Invisible Mountain narrates the account of that trek. The story examines the trek as adventure, spiritual odyssey, and as metaphor for the journey of life.In the words of Millard Fuller, co-founder of Habitat for Humanity International and The Fuller Center for Housing: "Ride with [Bob Vande Kappelle] as you read. You will enjoy the trip and you will gain all sorts of insights . . . and perhaps most importantly, you will learn about yourself and grow spiritually as you experience vicariously the wonderful adventure of this 'journey of faith.'"
From there two routes went west toward the Mississippi River, one to East St. Louis and the other to Alton, Illinois. (Today the Road's path is followed, for the most part, by U.S. 40 and I-70.).
How did Great Britain, which entered the twentieth century as a dominant empire, reinvent itself in reaction to its fears and fantasies about the United States? Investigating the anxieties caused by the invasion of American culture-from jazz to Ford motorcars to Hollywood films-during the first half of the twentieth century, Genevieve Abravanel theorizes the rise of the American Entertainment Empire as a new style of imperialism that threatened Britain's own.In the early twentieth century, the United States excited a range of utopian and dystopian energies in Britain. Authors who might ordinarily seem to have little in common-H.G. Wells, Aldous Huxley, and Virginia Woolf-began to imagine Britain's future through America. Abravanel explores how these novelists fashioned transatlantic fictions as a response to the encroaching presence of Uncle Sam. She then turns her attention to the arrival of jazz after World War I, showing how a range of writers, from Elizabeth Bowen to W.H. Auden, deployed the new music as a metaphor for the modernization of England. The global phenomenon of Hollywood film proved even more menacing than the jazz craze, prompting nostalgia for English folk culture and a lament for Britain's literary heritage. Abravanel then refracts British debates about America through the writing of two key cultural critics: F.R. Leavis and T.S. Eliot. In so doing, she demonstrates the interdependencies of some of the most cherished categories of literary study-language, nation, and artistic value-by situating the high-low debates within a transatlantic framework.