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Forensic sculptor Toni Sullivan's job takes her to crime scenes to put faces to victims. Shaping the clay always gives her a sense of purpose and order, but that all changes when she feels a mysterious connection to the victim found on Red Bud Isle. When Toni accepts another assignment that may officially prove an old friend is dead, memories of her nursing days in Vietnam begin to haunt her. Suddenly, her calm professionalism is gone. To find peace, she'll do whatever it takes to unmask a murderer. But where will she find the strength to handle the traumatic legacy of the past?
Brian Cuban is living with an enemy that has haunted him for over 30 years -- his own reflection in the mirror. Through a series of very personal and poignant anecdotes, he speaks from a rarely heard male perspective about the daily horrors of suffering from body dysmorphic disorder (BDD), a disease in which the sufferer is preoccupied with a distorted sense of self image and is often afflicted with eating disorders, depression and addiction...
Two men out of their own times and one running out of time to return home. In a world similar to their own, but locked in an age long before technology, can they find a way home? An aging apothecary and his assistant join with the two men in their quest as the try to find what may be their one hope to return - a wealthy Baron who is not what he seems and may be more than appears. Cover art by Dawn Fuschetti
It is eight years after Colleen Cavanaugh's home world was invaded by the Derichets, a tyrannical alien race bent on exploiting the planet's mineral resources. Most of her family died in the war, and she now lives alone in the city. Aside from her acquaintances at the factory where she toils for the Derichets, Colleen makes a single friend in Jann, a member of the violent group of rebels known as the Chromatti. One day Colleen receives shocking news: her niece Lucy is alive and in need of her help. Together, Colleen, Jann, and Lucy create their own tenuous family. But Colleen must decide if it's worth risking all of their survival to join a growing underground revolution against the Derichets ... in Sharon Shinn and Molly Knox Ostertag's Shattered Warrior.
#1 NEW YORK TIMES BESTSELLER It was never supposed to be this close. And of course she was supposed to win. How Hillary Clinton lost the 2016 election to Donald Trump is the riveting story of a sure thing gone off the rails. For every Comey revelation or hindsight acknowledgment about the electorate, no explanation of defeat can begin with anything other than the core problem of Hillary's campaign--the candidate herself. Through deep access to insiders from the top to the bottom of the campaign, political writers Jonathan Allen and Amie Parnes have reconstructed the key decisions and unseized opportunities, the well-intentioned misfires and the hidden thorns that turned a winnable contest into a devastating loss. Drawing on the authors' deep knowledge of Hillary from their previous book, the acclaimed biography HRC, Shattered offers an object lesson in how Hillary herself made victory an uphill battle, how her difficulty articulating a vision irreparably hobbled her impact with voters, and how the campaign failed to internalize the lessons of populist fury from the hard-fought primary against Bernie Sanders. Moving blow-by-blow from the campaign's difficult birth through the bewildering terror of election night, Shattered tells an unforgettable story with urgent lessons both political and personal, filled with revelations that will change the way readers understand just what happened to America on November 8, 2016.
Raúl Ruiz, while considered one of the world's most significant filmmakers by several film critics, is yet to be the subject of any thorough engagement with his work in English. This volume sets out on this task by mapping, as fully as possible, Ruiz's cinematic trajectory across more than five decades of prolific work, up to his death in 2011; ranging from his earliest work in Chile to high-budget 'European' costume dramas culminating in Mysteries of Lisbon (2010). It does so by treating Ruiz's work—with its surrealist, magic realist, popular cultural, and neo-Baroque sources—as a type of 'impossible' cinematic cartography, mapping real, imaginary, and virtual spaces, and crossing between different cultural contexts, aesthetic strategies, and technical media. It argues that across the different phases of Ruiz's work identified, there are key continuities such as the invention of singular cinematic images and the interrogation of their possible and impossible combinations.
Shattered Pictures of Places and Cities se adentra por las páginas autobiográficas, filosóficas y narrativas más relevantes de George Santayana discurriendo por sus viajes y geografías físicas en paralelo a sus viajes y geografías morales. Es un intento de ir más allá de la reflexión entorno a los orígenes biográficos del filósofo; de ahí que se recupere una indagación sobre su habitar el lenguaje y el arte. Santayana reconsidera los fundamentos del arte de la memoria clásica en su autobiografía, para formular una nueva propuesta estética donde el arte y la vida se funden y se confunden, estimulándose recíprocamente. Hila una filosofía del viaje y del lugar, donde se privilegia una noción del habitar que ilumina nuestra condición de nómadas -en la vida y en el pensamiento-, y nuestra trágica estable inestabilidad en este mundo.
The Shattered Gourd uses the lens of visual art to examine connections between the United States and the Yoruba region of western Nigeria. In Yoruba legend, the sacred Calabash of Being contained the Water of Life; when the gourd was shattered, its fragments were scattered over the ground, death invaded the world, and imperfection crept into human affairs. In more modern times, the shattered gourd has symbolized the warfare and enslavement that culminated in the black diasporas. The "re-membering" of the gourd is represented by the survival of people of African origin all over the Americas, and, in this volume, by their rediscovery of African art forms on the diaspora soil of the United States. Twentieth-century African American artists employing Yoruba images in their work have gone from protest art to the exploration and celebration of the self and the community. But because the social, economic, and political context of African art forms differs markedly from that of American culture, critical contradictions between form and meaning often appear in African American works that use African forms. In this book -- the first to treat Yoruba forms while transcending the conventional emphasis on them as folk art, focusing instead on the high art tradition -- Moyo Okediji uses nearly four dozen works to illustrate a broad thematic treatment combined with a detailed approach to individual African and African American artists. Incorporating works by such artists as Meta Warrick Fuller, Hale Woodruff, Aaron Douglas, Elizabeth Catlett, Ademola Olugebefola, Paul Keene, Jeff Donaldson, Howardena Pindell, Muneer Bahauddeen, Michelle Turner, Michael Harris, Winnie Owens-Hart, and John Biggers, the author invites the reader to envision what he describes as "the immense possibilities of the future, as the twenty-first century embraces the twentieth in a primal dance of the diasporas," a future that heralds the advent of the global as a distinct movement in art, beyond postmodernism.