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A Netgalley "Must-Read Books by Black Authors in 2022" From the award-winning and critically acclaimed author of A Bound Woman Is a Dangerous Thing comes a new book of narrative in verse that takes a personal and historical look at the experience of Black girlhood. In Breath Better Spent, DaMaris B. Hill hoists her childhood self onto her shoulders, together taking in the landscape of Black girlhood in America. At a time when Black girls across the country are increasingly vulnerable to unjust violence, unwarranted incarceration, and unnoticed disappearance, Hill chooses to celebrate and protect the girl she carries, using the narrative-in-verse style of her acclaimed book A Bound Woman is a Dangerous Thing to revisit her youth. There, jelly sandals, Double Dutch beats, and chipped nail polish bring the breath of laughter; in adolescence, pomegranate lips, turntables, and love letters to other girls' boyfriends bring the breath of longing. Yet these breaths cannot be taken alone, and as she carries her childhood self through the broader historical space of Black girls in America, Hill is forced to grapple with expression in a space of stereotype, desire in a space of hyper-sexuality, joy in a space of heartache. Paying homage to prominent Black female figures from Zora Neale Hurston to Whitney Houston and Toni Morrison, Breath Better Spent invites you to walk through this landscape, too, exploring the spaces-both visible and invisible-that Black girls occupy in the national imagination, taking in the communal breath of girlhood, and asking yourself: In a country like America, what does active love and protection of Black girls look like?
Winner of the Art Seidenbaum Award for First Fiction A New York Times 2016 Notable Book Entertainment Weekly's #1 Book of the Year A Washington Post 2016 Notable Book A Slate Top Ten Book NEW YORK TIMES BESTSELLER “The Nix is a mother-son psychodrama with ghosts and politics, but it’s also a tragicomedy about anger and sanctimony in America. . . . Nathan Hill is a maestro.” —John Irving From the suburban Midwest to New York City to the 1968 riots that rocked Chicago and beyond, The Nix explores—with sharp humor and a fierce tenderness—the resilience of love and home, even in times of radical change. It’s 2011, and Samuel Andresen-Anderson—college professor, stalled writer—has a Nix of his own: his mother, Faye. He hasn’t seen her in decades, not since she abandoned the family when he was a boy. Now she’s re-appeared, having committed an absurd crime that electrifies the nightly news, beguiles the internet, and inflames a politically divided country. The media paints Faye as a radical hippie with a sordid past, but as far as Samuel knows, his mother was an ordinary girl who married her high-school sweetheart. Which version of his mother is true? Two facts are certain: she’s facing some serious charges, and she needs Samuel’s help. To save her, Samuel will have to embark on his own journey, uncovering long-buried secrets about the woman he thought he knew, secrets that stretch across generations and have their origin all the way back in Norway, home of the mysterious Nix. As he does so, Samuel will confront not only Faye’s losses but also his own lost love, and will relearn everything he thought he knew about his mother, and himself.
Reveals the formidable organization of intelligence outsourcing that has developed between the U.S. government and private companies since 9/11, in a report that reveals how approximately seventy percent of the nation's funding for top-secret tasks is now being funneled to higher-cost third-party contractors. 35,000 first printing.
This is a study of the CIA's relationship with Congress. It encompasses the period from the creation of the Agency until 2004--the era of the DCIs. DCIs were Directors of Central Intelligence.
The #1 New York Times bestselling author of the Gossip Girl series brings her sharp-eyed and irresistible wit to this “quirky novel of lovable misfits” (Publishers Weekly) chronicling a year in the lives of four families in an upscale Brooklyn neighborhood as they seek purpose and community—until one unforgettable night at a raucous neighborhood party knocks them to their senses. Welcome to Cobble Hill. In this eclectic Brooklyn neighborhood, private storms brew amongst four married couples and their children. There’s ex-groupie Mandy, so underwhelmed by motherhood and her current physical state that she fakes a debilitating disease to get the attention of her skateboarding, ex-boyband member husband Stuart. There’s the unconventional new school nurse, Peaches, on whom Stuart has an unrequited crush, and her disappointing husband Greg, who wears noise-cancelling headphones—everywhere. A few blocks away, Roy, a well-known, newly transplanted British novelist, has lost the thread of his next novel and his marriage to indefatigable Wendy. Around the corner, Tupper, the nervous, introverted industrial designer with a warehouse full of prosthetic limbs struggles to pin down his elusive artist wife Elizabeth. Throw in two hormonal teenagers, a ten-year-old pyromaniac, a drug dealer pretending to be a doctor, and a lot of hidden cameras, and you’ve got a combustible mix of egos, desires, and secrets bubbling in brownstone Brooklyn. “Breezy, witty, and compulsively fun to read” (Kirkus Reviews), Cobble Hill is highly entertaining portrait of contemporary family life and the colorful characters who call Brooklyn home.
Notoriously difficult to define as a genre, Live Art is commonly positioned as a challenge to received artistic, social, and political categories: not theatre, not dance, not visual art, and often wilfully anti-mainstream and anti-establishment. But as it has become increasingly prevalent in international festivals, major art galleries, and university courses, it is ripe for a reassessment. Including almost 50 contributing artists and scholars, this collection of essays, conversations, provocations, and archival images takes the twentieth anniversary of the founding of one of the sector's most committed champions, the Live Art Development Agency in London, as an opportunity to consider not only what Live Art has been against, but also what it has been for. Through the work of this particular 'Agency', the book explores the idea of agency more generally: how Live Art has enabled the possibility for new kinds of thoughts, actions, and alliances for diverse individuals and groups.
This is a study of the CIA's relationship with Congress. It encompasses the period from the creation of the Agency until 2004-the era of the DCIs. When Congress created a new position in December 2004-the director of national intelligence-to supersede the director of central intelligence (DCI) as head of the US Intelligence Community, it necessarily changed the dynamic between the CIA and the Congress. While the director of the Agency would continue to represent its interests on Capitol Hill, he or she would no longer speak as the head of US intelligence. While 2008 is too early to assess how this change will affect the Agency's relationship with Congress, it is safe to say it will never be quite the same. This study is not organized as one might expect. It does not describe what occurred between the Agency and Congress in chronological order nor does it purport to describe every interaction that occurred over the period encompassed by the study. Rather it attempts to describe what the relationship was like over time and then look at what it produced in seven discrete areas. The study is divided into two major parts. Part I describes how Congress and the Agency related to each other over the period covered by the study. As it happens, this period conveniently breaks down into two major segments: the years before the creation of the select committees on intelligence (1946-76) and the years after the creation of these committees (1976-2004). The arrangements that Congress put in place during the earlier period to provide oversight and tend to the needs of the Agency were distinctly different from those put in place in the mid-1970s and beyond. Over the entire period, moreover, the Agency shared intelligence with the Congress and had other interaction with its members that affected the relationship. This, too, is described in part I. Part II describes what the relationship produced over time in seven discrete areas: legislation affecting the Agency; programs and budget; oversight of analysis; oversight of collection; oversight of covert action; oversight of security and personnel matters; and the Senate confirmation process. It highlights what the principal issues have been for Congress in each area as well as how those issues have been handled. Center for the Study of Intelligence, Central Intelligence Agency, Washington, DC, 2008.
After rising from poverty to earn two Ivy League degrees, an Appalachian lawyer pays tribute to the strong “hill women” who raised and inspired her, and whose values have the potential to rejuvenate a struggling region. “Destined to be compared to Hillbilly Elegy and Educated.”—BookPage (starred review) “A gritty, warm love letter to Appalachian communities and the resourceful women who lead them.”—Slate Nestled in the Appalachian mountains, Owsley County, Kentucky, is one of the poorest places in the country. Buildings are crumbling as tobacco farming and coal mining decline. But strong women find creative ways to subsist in the hills. Through the women who raised her, Cassie Chambers traces her path out of and back into the Kentucky mountains. Chambers’s Granny was a child bride who rose before dawn every morning to raise seven children. Granny’s daughter, Ruth—the hardest-working tobacco farmer in the county—stayed on the family farm, while Wilma—the sixth child—became the first in the family to graduate from high school. Married at nineteen and pregnant with Cassie a few months later, Wilma beat the odds to finish college. She raised her daughter to think she could move mountains, like the ones that kept her safe but also isolated from the larger world. Cassie would spend much of her childhood with Granny and Ruth in the hills of Owsley County. With her “hill women” values guiding her, she went on to graduate from Harvard Law. But while the Ivy League gave her opportunities, its privileged world felt far from her reality, and she moved home to help rural Kentucky women by providing free legal services. Appalachian women face issues from domestic violence to the opioid crisis, but they are also keeping their towns together in the face of a system that continually fails them. With nuance and heart, Chambers breaks down the myth of the hillbilly and illuminates a region whose poor communities, especially women, can lead it into the future.
In Agency and Embodiment, Carrie Noland examines the ways in which culture is both embodied and challenged through the corporeal performance of gestures. Arguing against the constructivist metaphor of bodily inscription dominant since Foucault, Noland maintains that kinesthetic experience, produced by acts of embodied gesturing, places pressure on the conditioning a body receives, encouraging variations in cultural practice that cannot otherwise be explained. Drawing on work in disciplines as diverse as dance and movement theory, phenomenology, cognitive science, and literary criticism, Noland argues that kinesthesia—feeling the body move—encourages experiment, modification, and, at times, rejection of the routine. Noland privileges corporeal performance and the sensory experience it affords in order to find a way beyond constructivist theory’s inability to produce a convincing account of agency. She observes that despite the impact of social conditioning, human beings continue to invent surprising new ways of altering the inscribed behaviors they are called on to perform. Through lucid close readings of Marcel Mauss, Maurice Merleau-Ponty, Bill Viola, André Leroi-Gourhan, Henri Michaux, Judith Butler, Frantz Fanon, Jacques Derrida, and contemporary digital artist Camille Utterback, Noland illustrates her provocative thesis, addressing issues of concern to scholars in critical theory, performance studies, anthropology, and visual studies.