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WINNER OF THE CANADIAN JEWISH LITERARY AWARD FOR MEMOIR FINALIST FOR THE HILARY WESTON WRITERS' TRUST PRIZE FOR NONFICTION An unforgettable memoir about a young woman who tries to outrun loss, but eventually finds a way home. Ayelet Tsabari was 21 years old the first time she left Tel Aviv with no plans to return. Restless after two turbulent mandatory years in the Israel Defense Forces, Tsabari longed to get away. It was not the never-ending conflict that drove her, but the grief that had shaken the foundations of her home. The loss of Tsabari’s beloved father in years past had left her alienated and exiled within her own large Yemeni family and at odds with her Mizrahi identity. By leaving, she would be free to reinvent herself and to rewrite her own story. For nearly a decade, Tsabari travelled, through India, Europe, the US and Canada, as though her life might go stagnant without perpetual motion. She moved fast and often because—as in the Intifada—it was safer to keep going than to stand still. Soon the act of leaving—jobs, friends and relationships—came to feel most like home. But a series of dramatic events forced Tsabari to examine her choices and her feelings of longing and displacement. By periodically returning to Israel, Tsabari began to examine her Jewish-Yemeni background and the Mizrahi identity she had once rejected, as well as unearthing a family history that had been untold for years. What she found resonated deeply with her own immigrant experience and struggles with new motherhood. Beautifully written, frank and poignant, The Art of Leaving is a courageous coming-of-age story that reflects on identity and belonging and that explores themes of family and home—both inherited and chosen.
Reminiscent of the early work of Jhumpa Lahiri, Ayelet Tsabari’s award-winning debut collection of stories is global in scope yet intimate in feel, beautifully written, and emotionally powerful. From Israel to India to Canada, Tsabari’s indelible characters grapple with love, violence, faith, the slipperiness of identity, and the challenges of balancing old traditions with modern times. These eleven spellbinding stories often focus on Israel’s Mizrahi Jews, featuring mothers and children, soldiers and bohemians, lovers and best friends, all searching for their place in the world. In “Tikkun,” a man crosses paths with his free-spirited ex-girlfriend—now a married Orthodox Jew—and minutes later barely escapes tragedy. In “Brit Milah,” a mother travels from Israel to visit her daughter in Canada and is stunned by her grandson’s upbringing. A young medic in the Israeli army bends the rules to potentially dangerous consequence in “Casualties.” After her mom passes away, a teenage girl comes to live with her aunt outside Tel Aviv and has her first experience with unrequited love in “Say It Again, Say Something Else.” And in the moving title story, two estranged sisters—one whose marriage is ending, the other whose relationship is just beginning—try to recapture the close bond they had as kids. Absorbing, tender, and sharply observed, The Best Place on Earth infuses moments of sorrow with small moments of grace: a boy composes poetry in a bomb shelter, an old photo helps a girl make sense of her mother’s rootless past. Tsabari’s voice is gentle yet wise, illuminating the burdens of history, the strength of the heart, and our universal desire to belong. Praise for The Best Place on Earth “It’s impossible not to be awestruck by the depth and power rendered in Tsabari’s stories.”—Elle “Tsabari creates complex, conflicted, prickly people you'll want to get to know better.”—Kirkus Reviews (starred review) “There’s remarkable scope in Ayelet Tsabari’s The Best Place on Earth, which interweaves stories of discrimination, loss, displacement, sex, death, religion, and a host of other issues. And yet, despite the range of viewpoints and the different facets of Israeli society explored, this is a collection that always stays intensely personal, the broader forces of history moving not merely across nations but within the souls of her beautifully conceived characters.”—Phil Klay, National Book Award–winning author of Redeployment “With incredible compassion and a delicate touch, Ayelet Tsabari explores the heartbreak inherent in forming bonds, whether with another person or with a whole country. The Best Place on Earth, a complicated love song to Israel, is a sure-footed and stunningly skillful debut.”—Shelly Oria, author of New York 1, Tel Aviv 0 “Powerful . . . brilliant . . . These stories . . . depict minorities so skillfully, with such a light and accurate touch.”—The Daily Beast “Highly recommended . . . Compelling and compassionate; [Tsabari’s stories] speak out from the heart of Israeli society and experiences. . . . The stories of The Best Place on Earth leave you wishing they wouldn’t end.”—The Times of Israel “This short story collection is a fiction debut for Tsabari, but it demonstrates that she is already a talented storyteller. . . . Her writing has an immediacy and power that invites readers into her characters’ psyches.”—Publishers Weekly
Relinquishing family attachments that failed to meet childhood needs is the most difficult task individuals can undertake as they grow into adulthood. Leaving Home not only emphasizes the life-saving benefits of separating from toxic parents but also offers a viable program for personal emancipation. David P. Celani centers his program on Object Relations Theory, a branch of psychoanalysis developed by Scottish analyst Ronald Fairbairn. The human personality, Fairbairn argued, is not the result of inherited (and thus immutable) instincts. Rather, the developing child builds internal relational templates rooted in conscious and unconscious memories he internalized in childhood, and these guide his future interactions with others. While an attachment to neglectful or even abusive parents is not uncommon, there is a way out. Eloquent, relatable, and filled with rich examples taken from more than two decades of clinical practice, Leaving Home outlines the practical steps necessary to become a healthy adult.
Leaving has always come naturally to Eva Elliott. The daughter of a pilot, she spent her childhood leaving schools and cities. Now an adult, she enjoys the thrill of saying goodbye much more than the butterflies of a first smile or kiss. There's so much more potential in walking away, and Eva has always had a dangerously vivid imagination. During a rainy summer in Soho, when a golden eagle escapes London Zoo to prowl the city and a beguiling stranger begins appearing around town armed with a conspiratorial smile and a secret, Eva discovers that endings just aren't as easy as they used to be. Is it a flirtation playing out amongst the crumbling offices, clubs and alleys of Soho, or something much darker? The line blurs in this haunting story about saying goodbye.
A guide for grad students and academics who want to find fulfilling careers outside higher education. With the academic job market in crisis, 'Leaving Academia' helps grad students and academics in any scholarly field find satisfying careers beyond higher education. The book offers invaluable advice to visiting and adjunct instructors ready to seek new opportunities, to scholars caught in "tenure-trap" jobs, to grad students interested in nonacademic work, and to committed academics who want to support their students and contingent colleagues more effectively. Providing clear, concrete ways to move forward at each stage of your career change, even when the going gets tough, 'Leaving Academia' is both realistic and hopeful.
A NEW YORK TIMES BESTSELLER • "A memoir in essays about so many things—growing up in an abusive cult, coming of age as a lesbian in the military, forced out by homophobia, living on the margins as a working class woman and what it’s like to grow into the person you are meant to be. Hough’s writing will break your heart." —Roxane Gay, author of Bad Feminist Searing and extremely personal essays, shot through with the darkest elements America can manifest, while discovering light and humor in unexpected corners. As an adult, Lauren Hough has had many identities: an airman in the U.S. Air Force, a cable guy, a bouncer at a gay club. As a child, however, she had none. Growing up as a member of the infamous cult The Children of God, Hough had her own self robbed from her. The cult took her all over the globe--to Germany, Japan, Texas, Chile—but it wasn't until she finally left for good that Lauren understood she could have a life beyond "The Family." Along the way, she's loaded up her car and started over, trading one life for the next. She's taken pilgrimages to the sights of her youth, been kept in solitary confinement, dated a lot of women, dabbled in drugs, and eventually found herself as what she always wanted to be: a writer. Here, as she sweeps through the underbelly of America—relying on friends, family, and strangers alike—she begins to excavate a new identity even as her past continues to trail her and color her world, relationships, and perceptions of self. At once razor-sharp, profoundly brave, and often very, very funny, the essays in Leaving Isn't the Hardest Thing interrogate our notions of ecstasy, queerness, and what it means to live freely. Each piece is a reckoning: of survival, identity, and how to reclaim one's past when carving out a future. A VINTAGE ORIGINAL
Living on a damaged planet challenges who we are and where we live. This timely anthology calls on twenty eminent humanists and scientists to revitalize curiosity, observation, and transdisciplinary conversation about life on earth. As human-induced environmental change threatens multispecies livability, Arts of Living on a Damaged Planet puts forward a bold proposal: entangled histories, situated narratives, and thick descriptions offer urgent “arts of living.” Included are essays by scholars in anthropology, ecology, science studies, art, literature, and bioinformatics who posit critical and creative tools for collaborative survival in a more-than-human Anthropocene. The essays are organized around two key figures that also serve as the publication’s two openings: Ghosts, or landscapes haunted by the violences of modernity; and Monsters, or interspecies and intraspecies sociality. Ghosts and Monsters are tentacular, windy, and arboreal arts that invite readers to encounter ants, lichen, rocks, electrons, flying foxes, salmon, chestnut trees, mud volcanoes, border zones, graves, radioactive waste—in short, the wonders and terrors of an unintended epoch. Contributors: Karen Barad, U of California, Santa Cruz; Kate Brown, U of Maryland, Baltimore; Carla Freccero, U of California, Santa Cruz; Peter Funch, Aarhus U; Scott F. Gilbert, Swarthmore College; Deborah M. Gordon, Stanford U; Donna J. Haraway, U of California, Santa Cruz; Andreas Hejnol, U of Bergen, Norway; Ursula K. Le Guin; Marianne Elisabeth Lien, U of Oslo; Andrew Mathews, U of California, Santa Cruz; Margaret McFall-Ngai, U of Hawaii, Manoa; Ingrid M. Parker, U of California, Santa Cruz; Mary Louise Pratt, NYU; Anne Pringle, U of Wisconsin, Madison; Deborah Bird Rose, U of New South Wales, Sydney; Dorion Sagan; Lesley Stern, U of California, San Diego; Jens-Christian Svenning, Aarhus U.
Everybody negotiates at various points every day, be it in life or business, and it’s important to get it right. On average, people leave about 20% of potential mutual gains untapped in any negotiation. This is akin to taking 20% of the value in any deal and dumping it into a garbage canister. Finding that hidden 20%, the “sweet spot,” is a skill that takes practice but is also one that anybody can learn. Leigh Thompson offers best practices and tools within this book to use in daily negotiations and conflict situations. She calls these strategies “hacks” because they work but don’t require a lot of investment, training, expense, and time. You don’t have to be a CEO, senior VP, or regional brand manager to learn how to find the sweet spot in life’s negotiations. In Negotiating the Sweet Spot, benefits include learning the following: Understanding where the sweet spot is in the deals you negotiate Adopting a big-picture mind-set when approaching any negotiation Seeing negotiations less as win-lose battles and more as opportunities to use problem-solving skills Utilizing a tool kit of “hacks” that will work in any negotiation and have been proven effective by a top expert in the field Negotiating the Sweet Spot walks people of all skill and experience levels through simple and proven techniques that are sure to result in better outcomes for all parties and that uncover the hidden value that exists in any negotiation.
Six were taken. Eleven years later, five come back--with no idea of where they've been. A riveting mystery for fans of We Were Liars. Eleven years ago, six kindergartners went missing without a trace. After all that time, the people left behind moved on, or tried to. Until today. Today five of those kids return. They're sixteen, and they are . . . fine. Scarlett comes home and finds a mom she barely recognizes, and doesn't really recognize the person she's supposed to be, either. But she thinks she remembers Lucas. Lucas remembers Scarlett, too, except they're entirely unable to recall where they've been or what happened to them. Neither of them remember the sixth victim, Max--the only one who hasn't come back. Which leaves Max's sister, Avery, wanting answers. She wants to find her brother--dead or alive--and isn't buying this whole memory-loss story. But as details of the disappearance begin to unfold, no one is prepared for the truth. This unforgettable novel--with its rich characters, high stakes, and plot twists--will leave readers breathless.
Adam Gordon is a brilliant, if highly unreliable, young American poet on a prestigious fellowship in Madrid, struggling to establish his sense of self and his relationship to art. What is actual when our experiences are mediated by language, technology, medication, and the arts? Is poetry an essential art form, or merely a screen for the reader's projections? Instead of following the dictates of his fellowship, Adam's "research" becomes a meditation on the possibility of the genuine in the arts and beyond: are his relationships with the people he meets in Spain as fraudulent as he fears his poems are? A witness to the 2004 Madrid train bombings and their aftermath, does he participate in historic events or merely watch them pass him by? In prose that veers between the comic and tragic, the self-contemptuous and the inspired, Leaving the Atocha Station is a portrait of the artist as a young man in an age of Google searches, pharmaceuticals, and spectacle. Born in Topeka, Kansas, in 1979, Ben Lerner is the author of three books of poetry The Lichtenberg Figures, Angle of Yaw, and Mean Free Path. He has been a finalist for the National Book Award and the Northern California Book Award, a Fulbright Scholar in Spain, and the recipient of a 2010-2011 Howard Foundation Fellowship. In 2011 he became the first American to win the Preis der Stadt Münster für Internationale Poesie. Leaving the Atocha Station is his first novel.