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Coming from this preacher’s love of the seashore is a series of sermonettes he heard while walking along some of the world’s sandy beaches. Stroll with this man as he shares his insights from days spent on seashores in the counties of Israel, India, Canada, and Australia, as well as the states of Alaska, California, Florida, New Jersey, and Maine. Listen with him as he hears surf and sea sermons, tide and tern tenets, beach and breeze benedictions, and sand and storm sermonettes. Look with him into the face of a coastal nor’easter; watch with him as sea creatures and shoreline birds play together along the sea edge; behold brilliant sunrises and amazing sunsets over distant shores with family and friends; and observe the rising and falling of the great tides, all events along a seashore that inspired these spiritual messages from the Almighty. So take off your shoes; let the sand fill the cracks between your toes; lift your eyes toward the sea; open your ears to the sound of the surf; and “be still, and know that I am God” (Ps 46:10). What does God want to say?
The Pace of Fiction redefines the literary history of the novel by analyzing its most elaborate feature: its pace. It moves from the rise of the novel to realism and modernism. It starts by tracing the evolution of two narrative units: scenes (shown slowly) and summaries (told swiftly). These units emerge from the conflict of epic and drama, gain shape in the commentaries of Fielding and Goethe, and become dynamically opposed in nineteenth-century realism. In Middlemarch, they rotate in regular sequence: summaries move swiftly until scenes slow them down; scenes play out dramatically until summaries sweep them forward; their movement imitates the conflict of fate and free will. Over the course of the nineteenth century, however, scenic impulses overtake summary storytelling. The reader sees the tendency already in Austen's dialogues, Hawthorne's tableaux, or Balzac's battering drama, and finds it in Jane Eyre's placement of summaries in private scenes. When Flaubert extends scenic vividness to all of his summaries, and when Henry James subordinates his summaries to scenic consciousness, the extreme pressure of scene upon summary brings the opposition of realist pacing to collapse. But other oppositions arise in the modernisms that follow. In the alternation of stasis and kinesis, of drifting thoughts and everyday actions, of stories and acts of storytelling--in Proust, Joyce, Woolf, Mann, Hemingway--pace gathers and creates meaning in new ways.
Go on a snowy, sandy shore walk in a story where every single word starts with the letter S! Explore the beach in winter in this story told through clever language. During a sunset beach saunter, a girl stumbles and drops her doll into a tidal pool. Soaked! Celebrating the natural silence of an off-season location, the surf and sand are brought to life through this engaging story.
In You Unstuck, Libby Gill uses cases studies, client stories from her coaching work, and brain research to help readers understand the biological basis of fears that hold them back. She shows how to reframe what she calls Riskophobia, turn off the fear voices, and circumvent ancient defense systems. Readers can then create an Escalating Risk Hierarchy by "chunking down" their vision into small, actionable steps, ordered from least to most anxiety inducing. By combining stress-busting relaxation techniques with small action steps, the readers’ odds for realizing their vision greatly increase in this Relax, Risk, Repeat cycle. Gill also shows readers how to "Avoid Limiters & Embrace Liberators," keeping naysayers at bay while seeking influential supporters who can help free their creativity and productivity. Capitalizing on her business background, coaching expertise, and a personal history of risk-taking and resilience, Gill makes complex concepts relevant and accessible through immediately applicable tools, exercises, self-tests, and questionnaires that challenge readers to change.
This small book is for all those noble souls who have endured the trials and tribulations of being family members of an addict or alcoholic and have continued to love them. It is offered as a lifeline so that family members can survive the struggle and even thrive in spite of it. This book explains chemical addiction and its traumatic effects on family members, but mostly it shows family members how to successfully navigate the challenges they face. Family members need help to heal just as much as their addicts/alcoholics do because chemical addiction is a family disease. The insight that drives this small book is the same as the insight that drives the recovery of every addict/alcoholic: If you work a program, it works for you. It will not be easy, but in the end all can be well.
Vols. for 2004- by Christopher Somerville.
This vivid, sometimes tragic, and often humorous literary biography brings to life as never before the extraordinary talent and complex person who was Thomas Mann. Engrossing vignettes enable us to enter Mann's life and work from unique angles. We meet the difficult, even unsavory private man: hypochondriac and nervous, narcissistic and vainglorious, isolated and greedy for love, shy and often ungenerous. But we are also introduced to a man who lived an eventful life, was capable of great kindness, loved dogs, doted on his daughters, and listened to Jack Benny. We experience Mann's tragedy as the quintessential German forced by the rise of National Socialism first into inner exile and then into real exile in Switzerland, Princeton, and California. His letters from this time reveal the torment that exile represented for a writer whose work, indeed whose very self, was inextricably bound up with the German language. The book provides fresh and sometimes startling insights into both famous and little-known episodes in Mann's life and into his writing--the only realm in which he ever felt free. It shows how love, death, religion, and politics were not merely themes in Buddenbrooks, The Magic Mountain, and other works, but were woven into the fabric of his existence and preoccupied him unrelentingly. It also teases out what is known about what Mann considered his celibate homoeroticism and what others have labeled closeted homosexuality. In particular, we learn about his affection for the young man who inspired the character of Tadzio in Death in Venice. And, against the unfocused accusations of anti-Semitism that have been leveled at Mann, the book examines in human detail his relationships with Jewish writers, friends, and family members. This is the richest available portrait of Thomas Mann as man and writer--the place to start for anyone wanting to know anything about his life, work, or times.
Mastication on the Beach is a collection of poetic musings from Long Island native, Stacey Pamela Doyle. Her poetry breathes feminine nuances into essential elements. The sun, moon, fire, trees and water come to life, wrapping around your senses. In a voice ranging from passive to passionate, Stacey captures the essence of Long Island through words and photographs. She fearlessly plunges beyond the ocean into the depths of imagination and spirit. Sail away from the everyday on an eclectic journey with a New Yorker who clearly loves her surroundings.