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For more than a decade, Ron Capps, serving as both a senior military intelligence officer and as a Foreign Service officer for the U.S. Department of State, was witness to war crimes, ethnic cleansing, and genocide. From government atrocities in Kosovo, to the brutal cruelties perpetrated in several conflicts in central Africa, the wars in both Aghanistan and Iraq, and culminating in genocide in Darfur, Ron acted as an intelligence collector and reporter but was diplomatically restrained from taking preventative action in these conflicts. The cumulative effect of these experiences, combined with the helplessness of his role as an observer, propelled him into a deep depression and a long bout with PTSD, which nearly caused him to take his own life. Seriously Not All Right is a memoir that provides a unique perspective of a professional military officer and diplomat who suffered (and continues to suffer) from PTSD. His story, and that of his recovery and his newfound role as founder and teacher of the Veterans Writing Project, is an inspiration and a sobering reminder of the cost of all wars, particularly those that appeared in the media and to the general public as merely sidelines in the unfolding drama of world events.
For more than a decade, Ron Capps, serving as both a senior military intelligence officer and as a Foreign Service officer for the U.S. Department of State, was witness to war crimes, ethnic cleansing, and genocide. From government atrocities in Kosovo, to the brutal cruelties perpetrated in several conflicts in central Africa, the wars in both Aghanistan and Iraq, and culminating in genocide in Darfur, Ron acted as an intelligence collector and reporter but was diplomatically restrained from taking preventative action in these conflicts. The cumulative effect of these experiences, combined with the helplessness of his role as an observer, propelled him into a deep depression and a long bout with PTSD, which nearly caused him to take his own life. Seriously Not All Right is a memoir that provides a unique perspective of a professional military officer and diplomat who suffered (and continues to suffer) from PTSD. His story, and that of his recovery and his newfound role as founder and teacher of the Veterans Writing Project, is an inspiration and a sobering reminder of the cost of all wars, particularly those that appeared in the media and to the general public as merely sidelines in the unfolding drama of world events.
People of color are eager for white people to deal with their racial ignorance. White people are desperate for an affirmative role in racial justice. Not My Idea: A Book About Whiteness helps with conversations the nation is, just now, finally starting to have.
The author, a computer science professor diagnosed with terminal cancer, explores his life, the lessons that he has learned, how he has worked to achieve his childhood dreams, and the effect of his diagnosis on him and his family.
"Born the child of a poor farmer in Missouri, William Stoner is urged by his parents to study new agriculture techniques at the state university. Digging instead into the texts of Milton and Shakespeare, Stoner falls under the spell of the unexpected pleasures of English literature, and decides to make it his life. Stoner is the story of that life"--
NEW YORK TIMES BESTSELLER • “Driving, wild and hilarious” (The Washington Post), here is the incredible “memoir” of the legendary actor, gambler, raconteur, and Saturday Night Live veteran. When Norm Macdonald, one of the greatest stand-up comics of all time, was approached to write a celebrity memoir, he flatly refused, calling the genre “one step below instruction manuals.” Norm then promptly took a two-year hiatus from stand-up comedy to live on a farm in northern Canada. When he emerged he had under his arm a manuscript, a genre-smashing book about comedy, tragedy, love, loss, war, and redemption. When asked if this was the celebrity memoir, Norm replied, “Call it anything you damn like.”
Born in Tijuana to a Mexican father and an Anglo mother, Urrea moved to San Diego at age three. In this memoir of his childhood, Urrea describes his experiences growing up in the barrio and his search for cultural identity.
"Like smoke off a collision between Dennis Cooper's George Miles Cycle and Beyond The Black Rainbow, absorbing the energy of mind control, reincarnation, parallel universes, altered states, school shootings, obsession, suicidal ideation, and so much else, B.R. Yeager's multi-valent voicing of drugged up, occult youth reveals fresh tunnels into the gray space between the body and the spirit, the living and the dead, providing a well-aimed shot in the arm for the world of conceptual contemporary horror." -Blake Butler, author of Three Hundred Million "Ever wonder where teenage children go at night? Perhaps it's best not knowing the answer. There's something amiss in Kinsfield, a drab, boring city much like your own, except for the teenage suicide epidemic, stagnant, ineffectual parents, cultish behavior that borders on psychosis, and strings, strings everywhere. B.R. Yeager's Negative Space is a hypnotic collage of message boards, memes, and ruined bodies twisting at the end of a rope. Most modern novels have lost all concept of magic. B.R. Yeager's Negative Space is a stunning refutation of the quotidian." -James Nulick, author of Haunted Girlfriend & Valencia
George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times