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"The stories people tell about themselves are interesting not only for the events and characters they describe but for something in the construction of the stories themselves. The ways in which individuals recount their histories--what they emphasize and omit, their stance as protagonists or victims, the relationship the story establishes between teller and audience--all shape what individuals can claim of their own lives. Personal stories are not merely a way of telling someone (or oneself) about one's life; they are the means by which identities may be fashioned."--from the Introduction In this provocative book, psychologists, anthropologists, and sociologists analyze interviews with a range of subjects--a minister who uses the death of his son to reaffirm his identity as a man of God, women who have given up their children at birth for adoption and who blame society for their action, Holocaust survivors, a victim of marital rape, and many others. Together these studies suggest a new way of thinking about autobiographical narratives: that these life stories play a significant role in the formation of identity, that the way they are told is shaped (and at times curtailed) by prevalent cultural norms, and that the stories--and at times the lives to which they relate--may be liberated from their psychic and social constraints if the social conditions of story telling can be critically engaged. Presenting a wide range of life stories, these studies demonstrate how "telling one's life" has the potential to clarify or mystify one's commitments and to animate or encumber one's future development.
During World War II over 5,500 young Japanese Americans left the concentration camps to which they had been confined with their families in order to attend college. Storied Lives describes�often in their own words�how nisei students found schools to attend outside the West Coast exclusion zone and the efforts of white Americans to help them. The book is concerned with the deeds of white and Japanese Americans in a mutual struggle against racism, and argues that Asian American studies�indeed, race relations as a whole�will benefit from an understanding not only of racism but also of its opposition, antiracism. To uncover this little known story, Gary Okihiro surveyed the colleges and universities the nisei attended, collected oral histories from nisei students and student relocation staff members, and examined the records of the National Japanese American Student Relocation Council and other materials.
Focusing particularly on communication processes in relationships, this text presents the different theories about personal relationships that have emerged from different traditions in communication studies.
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One of art's purest challenges is to translate a human being into words. The New Yorker has met this challenge more successfully and more originally than any other modern American journal. It has indelibly shaped the genre known as the Profile. Starting with light-fantastic evocations of glamorous and idiosyncratic figures of the twenties and thirties, such as Henry Luce and Isadora Duncan, and continuing to the present, with complex pictures of such contemporaries as Mikhail Baryshnikov and Richard Pryor, this collection of New Yorker Profiles presents readers with a portrait gallery of some of the most prominent figures of the twentieth century. These Profiles are literary-journalistic investigations into character and accomplishment, motive and madness, beauty and ugliness, and are unrivalled in their range, their variety of style, and their embrace of humanity. Including these twenty-eight profiles: “Mr. Hunter’s Grave” by Joseph Mitchell “Secrets of the Magus” by Mark Singer “Isadora” by Janet Flanner “The Soloist” by Joan Acocella “Time . . . Fortune . . . Life . . . Luce” by Walcott Gibbs “Nobody Better, Better Than Nobody” by Ian Frazier “The Mountains of Pi” by Richard Preston “Covering the Cops” by Calvin Trillin “Travels in Georgia” by John McPhee “The Man Who Walks on Air” by Calvin Tomkins “A House on Gramercy Park” by Geoffrey Hellman “How Do You Like It Now, Gentlemen?” by Lillian Ross “The Education of a Prince” by Alva Johnston “White Like Me” by Henry Louis Gates, Jr. “Wunderkind” by A. J. Liebling “Fifteen Years of The Salto Mortale” by Kenneth Tynan “The Duke in His Domain” by Truman Capote “A Pryor Love” by Hilton Als “Gone for Good” by Roger Angell “Lady with a Pencil” by Nancy Franklin “Dealing with Roseanne” by John Lahr “The Coolhunt” by Malcolm Gladwell “Man Goes to See a Doctor” by Adam Gopnik “Show Dog” by Susan Orlean “Forty-One False Starts” by Janet Malcolm “The Redemption” by Nicholas Lemann “Gore Without a Script” by Nicholas Lemann “Delta Nights” by Bill Buford
When writers write, they are getting in touch with the image of God in them. This is true in some way of all artistry, but writers especially create worlds, characters, histories, and transformation--all ex nihilo ("out of nothing"). In The Storied Life, veteran author Jared C. Wilson explores the ins and outs of writers and writing, exploring the myriad ways the craft is more about transformation than simply communication. From decades of experience and with his signature wit, Wilson brings well-earned insight, autobiographical reflections, and meaningful meditations to the topic of writing as a way of life and as a way of worship, showing how the concept of Story--our personal stories and God's grand story of redemption--shapes fiction and non-fiction writers alike. Chapters focus on topics like: The liturgy of story. Writing as a spiritual act. Perseverance and endurance. Writing as a calling. Promotion, publishing, and platform. Whether you're a long-time writer or a beginning author, a daily journaler or an occasional dabbler, The Storied Life will help you improve your craft. It will lead you to think more deeply about the disciplines and dispositions needed to write for transformation.
Embrace the power of storytelling with Little Stories of Your Life. Start telling your own story, find your creative self and be more mindful. Combining the wellbeing benefits of mindfulness, creativity and daily photography, this book shows you how to use words and photographs to capture precious little moments and how to share these in order to connect with others. Each chapter explores the different ways you can tell your own stories, considers why you might choose to tell them and helps you to create a patchwork of tiny tales about your life, however small they might be. Throughout the book, Laura shares her own personal stories and research that shows you how to tune out of the bigger picture and focus on the everyday. There are exercises to gently guide you through how to journal and harness your inner creativity, as well as tips on improving your photography, photo challenges and writing prompts to get you started. It’s easy to feel that our own lives are not enough, but real lives are not defined by bright, exciting events: we don’t need a grand narrative arc. It’s the stretches of time in between that matter, the tiny moments and the daily choices that make us who we are.
Powerful ideas from narrative therapy can teach us how to create new life stories and promote change. Our lives and their pathways are not fixed in stone; instead they are shaped by story. The ways in which we understand and share the stories of our lives therefore make all the difference. If we tell stories that emphasize only desolation, then we become weaker. If we tell our stories in ways that make us stronger, we can soothe our losses and ease our sorrows. Learning how to re-envision the stories we tell about ourselves can make an enormous difference in the ways we live our lives. Drawing on wisdoms from the field of narrative therapy, this book is designed to help people rewrite and retell the stories of their lives. The book invites readers to take a new look at their own stories and to find significance in events often neglected, to find sparkling actions that are often discounted, and to find solutions to problems and predicaments in unexpected places. Readers are introduced to key ideas of narrative practice like the externalizing problems - 'the person is not the problem, the problem is the problem' -and the concept of "re-membering" one's life. Easy-to-understand examples and exercises demonstrate how these ideas have helped many people overcome intense hardship and will help readers make these techniques their own. The book also outlines practical strategies for reclaiming and celebrating one's experience in the face of specific challenges such as trauma, abuse, personal failure, grief, and aging. Filled with relatable examples, useful exercises, and informative illustrations, Retelling the Stories of Our Lives leads readers on a path to reclaim their past and re-envision their future.
NATIONAL BESTSELLER • With stark poignancy and political dispassion Tightrope addresses the crisis in working-class America while focusing on solutions to mend a half century of governmental failure. This must-read book from the authors of Half the Sky “shows how we can and must do better” (Katie Couric). "A deft and uniquely credible exploration of rural America, and of other left-behind pockets of our country. One of the most important books I've read on the state of our disunion."—Tara Westover, author of Educated Drawing us deep into an “other America,” the authors tell this story, in part, through the lives of some of the people with whom Kristof grew up, in rural Yamhill, Oregon. It’s an area that prospered for much of the twentieth century but has been devastated in the last few decades as blue-collar jobs disappeared. About a quarter of the children on Kristof’s old school bus died in adulthood from drugs, alcohol, suicide, or reckless accidents. While these particular stories unfolded in one corner of the country, they are representative of many places the authors write about, ranging from the Dakotas and Oklahoma to New York and Virginia. With their superb, nuanced reportage, Kristof and WuDunn have given us a book that is both riveting and impossible to ignore.
Originally written as a series of viral Facebook posts, then released as a cult hit in St. Petersburg, Meshchaninova’s serialized memoir-novel tackles gender politics and abuse with honest, cutting language. Stories of A Life depicts the life of Natasha, a young woman who suffers abuse first at the hands of her stepfather Sasha and then by young men in the village nearby. This powerful, postmodern novel witnesses the Dickensian struggles of provincial life and reckons with the complicity of fellow women. Starkly down-to-earth yet funny and informal, Stories of A Life demands that we bear witness to the bleakness of a young womanhood in post-Soviet Russia. Meshchaninova is held in high regard as part of a new wave of women filmmakers in Russia, and with this collection cements her position as a woman willing to stare down the viewer and demand complicity.