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"Singing to the sound reveals troubled waters - from the Makah whale hunt to the feared, extinction of Northwest salmon. Peterson unravels the complexities of the highly controversial Makah whale hunt - the first off U.S. mainland shores in nearly a century. As mediator and reporter of this international story for five years. Peterson now writes as historian with an eye for the future of both people and whales. She moves beyond the polarized view of "Indians versus environmentalists" to portray a multifaceted, human drama with no easy answers to a story that is still unfolding."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
This joyous book sings thanks and praise for everything in land, sea, and sky-from the sun and moon to plants and animals to all people, young and old. Beloved author-illustrator Tomie dePaola captures the beauty of God's creation in his folk art-style illustrations. With text inspired by Old Testament Scripture and artwork fashioned after the beautiful embroideries and designs of the Otomi people from the mountain villages around San Pablito, in Puebla, Mexico, this is a wonderful celebration for all to share.
"A lucid and passionate case for a more mindful way of listening to and engaging with musical, natural, and manmade sounds." —New York Times In this tour of the world’s most unexpected sounds, Trevor Cox—the “David Attenborough of the acoustic realm” (Observer)—discovers the world’s longest echo in a hidden oil cavern in Scotland, unlocks the secret of singing sand dunes in California, and alerts us to the aural gems that exist everywhere in between. Using the world’s most amazing acoustic phenomena to reveal how sound works in everyday life, The Sound Book inspires us to become better listeners in a world dominated by the visual and to open our ears to the glorious cacophony all around us.
Singing by Herself reinterprets the rise of literary loneliness by foregrounding the female and feminized figures who have been overlooked in previous histories of solitude. Many of the earliest records of the terms "lonely" and "loneliness" in British literature describe solitaries whose songs positioned them within the tradition of female complaint. Amelia Worsley shows how these feminized solitaries, for whom loneliness was both a space of danger and a space of productive retreat, helped to make loneliness attractive to future lonely poets, despite the sense of suspicion it evoked. Although loneliness today is often associated with states of atomized interiority, soliloquy, and self-enclosure, this study of eighteenth-century poetry disrupts the presumed association between isolation, singular speech, and bounded models of poetic subjectivity. In five chapters focused on lonely poet figures in the works of John Milton, Anne Finch, Alexander Pope, Thomas Gray, and Charlotte Smith—which also take account of the wider eighteenth-century fascination with literary loneliness—Singing by Herself shows how poets increasingly associated the new literary mode of being alone with states of disembodiment, dispersal, and echoic self-doubling. Seemingly solitary lonely voices often dissolve into polyvocal, allusive community, Worsley argues, when in dialogue with each other and also with classical figures of feminized lament such as Sappho, Echo, and Philomela. The book's provocative reflections on lyric mean that it will have a broad appeal to scholars interested in the history of poetry and poetics, as well as to those who study the literary history of gender, affect, and emotion.
Based on years of research and experience in the medical community, this proven program helps readers improve their physical, mental, emotional and spiritual health in just 12 weeks through innovative art projects along with spiritual practices and guided imagery. Original.
A young artist forges a path of self-discovery in an enriching novel about forgiving the past and embracing second chances, from the bestselling author of An Unfinished Story. Maine, 1969. After losing her parents in a car accident, aspiring artist Annalisa Mancuso lives with her grandmother and their large Italian family in the stifling factory town of Payton Mills. Inspired by her mother, whose own artistic dreams disappeared in a damaged marriage, Annalisa is dedicated only to painting. Closed off to love, and driven as much by her innate talent as she is the disillusionment of her past, Annalisa just wants to come into her own. The first step is leaving Payton Mills and everything it represents. The next, the inspiring opportunities in the city of Portland and a thriving New England art scene where Annalisa hopes to find her voice. But she meets Thomas, an Ivy League student whose attentions--and troubled family--upend her pursuits in ways she never imagined possible. As their relationship deepens, Annalisa must balance her dreams against an unexpected love. Until the unraveling of an unforgivable lie. For Annalisa, opening herself up to life and to love is a risk. It might also be the chance she needs to finally become the person and the artist she's meant to be.
A lyrical celebration of birdsong, and the rekindling of a deep passion for nature. 'At this time of year, blackbirds never simply fly: instead, like reluctantly retired officers, they're always "on manoeuvres", and it's easy to see from their constant agitation that for them every flower bed is a bunker, every shed a redoubt and every hedge-bottom a potential place of ambush' As the world went silent in lockdown, something else happened; for the first time, many of us started becoming more aware of the spring sounds of the birds around us. Birdsong in a Time of Silence is a lyrical, uplifting reflection on these sounds and what they mean to us. From a portrait of the blackbird - most prominent and articulate of the early spring singers - to explorations of how birds sing, the science behind their choice of song and nest-sites, and the varied meanings that people have brought to and taken from birdsong, this book ultimately shows that natural history and human history cannot be separated. It is the story of a collective reawakening brought on by the strangest of springs.
"I set desire / on fire / and she screamed I couldn't tell / if the scream was agony / or ecstasy what's the difference?" - From 'What's Left' "and when we settle into our dens at night, we talk of you, as one might talk of a cupped hand, fading slowly, the rest of the body long departed: a rusty bucket, offering water-all that's left of a god. " - From 'Somewhere in Indiana' Ricky Ray entwines the beauty of the world and his love of life with the weight of physical pain he shoulders daily, in this stunning chapbook which urges you to find new meaning in nature's mysterious workings: "Every time I look up/ into a canopy, I see a mind at work." In The Sound of the Earth Singing to Herself, Ricky Ray invokes the animalistic yet the utterly, undeniably humane. Visiting the most intimate corners of memory, this is a chapbook that promises linguistic prowess and the healing - however raw - of the ache of living. From Indiana, Florida, and Oklahoma to the inescapable moment of our own death, the moment the sun sinks below the horizon, the moment 'the cancer / bloomed like an angry / flower in her liver', Ray's language is masterful, transfixed on elevating the mundane and exposing every private moment of our existence. - Kayla Jenkins, Writer Praise for 'The Sound of the Earth Singing to Herself' "Ricky Ray's The Sound of the Earth Singing to Herself is a private archive of "unholstered" embodiment, imagining disability not as a disconnect or alienation from the environment but as a curious kinship with it, a shared "scream" in which there is no difference between "agony" and "ecstasy," the speaker's body and "Oklahoma," "generations of teeth" and "somewhere in Indiana." This is a new song of an old but still echoing America, in which "sludgehearted" monsters emerge triumphant while families live on "dog biscuits," frantically attempting to preserve whatever is "left of a god." Both cruelly and comfortingly, Earth Singing reminds us every god and monster in this country, including the land, will "go to rot" together one day. And whether characterized as tragic or sublime, this coalescence is a melody we are already humming deep down." -Dylan Krieger, author of Giving Godhead (Delete, 2017), The Mother Wart (Vegetarian Alcoholic, 2019), Metamortuary (Nine Mile, 2020) and Soft-Focus Slaughterhouse (11:11, forthcoming). "In one of the poems in this chapbook, Ricky Ray writes "living takes time, and I want you / to stay with me." It's just one tender, honest moment in this collection of deep, effervescent tenderness. Throughout The Sound of the Earth Singing to Herself, Ricky's poems ask the world to stay just a little longer. They admit, with grace, what they don't understand. They offer thanks. But what they do most singularly is care. Ricky's poems care about life, love, dogs, birds, gentleness, unknowing, wonder, and more. Poetry is a kind of witness, and each poem in this chapbook bears such gentle witness to this world, a world that sings and kills and births, all at once. They, as one poem states, "sneak a peak" even when the world's "too tender" to watch. What to do when the world is not enough? Read Ricky's poems. What to do when the yearning feels unbearable? Read Ricky's poems. What to do when you want to heal, even when healing feels impossible? Read Ricky's poems. To read this book is to learn, just a little bit better, how to live." -Devin Kelly, author of In This Quiet Church of Night, I Say Amen (Civil Coping Mechanisms, 2017) and Blood on Blood (Unknown Press, 2016)