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After the sudden death of his sister, Marvin turns to his girlfriend, a therapist and a co-worker for comfort, only to find himself alone in his grief. When he loses his cell phone, Marvin falls for the mysterious woman who has procured his phone. Marvin, however, soon finds himself embroiled in a dark underworld when a threatening detective shows up at his office, making it clear that the mysterious woman on the phone is not who she says is.
Why is eating food in its natural state, unprocessed and unrefined, so vital to the maintenance of good health? What is lacking in our modern diet that makes us so susceptible to degenerative disease? What natural elements in food may play a key role in unlocking the secrets of life extension? These fascinating questions, and many more, are answered in Enzyme Nutrition. Written by one of America’s pioneering biochemists and nutrition researchers, Dr. Edward Howell, Enzyme Nutrition presents the most vital nutritional discovery since that of vitamins and minerals—food enzymes. Our digestive organs produce some enzymes internally, however food enzymes are necessary for optimal health and must come from uncooked foods such as fresh fruits and vegetables, raw sprouted grains, unpasteurized dairy products, and food enzyme supplements. Enzyme Nutrition represents more than fifty years of research and experimentation by Dr. Howell. He shows us how to conserve our enzymes and maintain internal balance. As the body regains its strength and vigor, its capacity to maintain its normal weight, fight disease, and heal itself is enhanced.
Describes the culture, religion, and daily life of the Eskimos, explains their family and community relationships, and looks at tools, masks, clothings, and carvings
The story of Elizabeth the First and her two secret sons as told in the ciphers of Francis Bacon, concealed within the plays he and his friends wrote under the name of 'Shakespeare'. The original Royal Shakespeare Company, in fact!
The scenes contained in this volume are presented exactly as written by the playwrights, with no internal deletions. The introductions to each follow the headings "Characters," "Scene," and "Time"; the playwrights' stage directions are contained in parent
The weight of what is to come is unbearable. It is crushing me. The sound of the crying, it never ceases. I carry this inside and now tell only you. Charles, a disgraced New York Times journalist, arrives in Rwanda for an exclusive interview with two Hutu nuns. Charged with war crimes, the nuns must convince the world of their innocence during the 1994 genocide. When an unknown survivor contradicts the nuns' story, Charles must decide between saving his career or telling a murkier truth that might condemn the nuns to a life in prison. Ken Urban's award-winning Sense Of An Ending shines a light on journalistic truth and morality amid the atrocity of the Rwandan genocide. The play was produced and published during the twenty-first century anniversary of the genocide, and is a striking and compelling political thriller asking if forgiveness is possible in a world where truth is never simple. Sense Of An Ending was premiered at Theatre503, London, on 12 May 2015.
From the ForewordThese pieces are selections from work done in the Thirties, a decade so changeable that I at first thought of assembling them under the title, "While Everything Flows." Their primary interest is in speculation on the nature of linguistic, or symbolic, or literary action--and in a search for more precise ways of locating or defining such action. Words are aspects of a much wider communicative context, most of which is not verbal at all. Yet words also have a nature peculiarly their own. And when discussing them as modes of action, we must consider both this nature as words in themselves and the nature they get from the non-verbal scenes that support their acts. I shall be happy if the reader can say of this book that, while always considering words as acts upon a scene, it avoids the excess of environmentalist schools which are usually so eager to trace the relationships between act and scene that they neglect to trace the structure of the act itself.