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Jennifer Moore's debut collection takes its title from a bullfighting technique in which the matador draws the bull with his cape; in these poems, however, traditional moves are reconfigured and roles are subverted. In a broader sense, the word "veronica" (from the Latin vera, or "true" and the Greek eikon, or "image") functions as a frame for exploring the nature of visual experience, and underscores a central question: how do we articulate events or emotions that evade clear understanding? In order to do so, the figures here perform all manner of transformations: from vaudeville star to cartoonist's daughter, from patron saint to "Blue-Eyed Torera; " they are soothsayers, apothecaries, curators, often conjuring selves out of thin air. This dilating and "shape-shifting" of perspective becomes a function of identity: "the absorber and the absorbed become one." Indeed, both speaker and listener must be crafted-willed into being-by each other ("Be your own maestro"), and are apparitions until then. Through a flick of the wrist or a trick of the eye, these speakers understand that construction of a self comes only through performance of that self--which performances are often punctuated with a wink, an unswerving gaze, or both at once.
Maneuvers takes readers on a global tour of the sprawling process called "militarization." With her incisive verve and moxie, eminent feminist Cynthia Enloe shows that the people who become militarized are not just the obvious ones—executives and factory floor workers who make fighter planes, land mines, and intercontinental missiles. They are also the employees of food companies, toy companies, clothing companies, film studios, stock brokerages, and advertising agencies. Militarization is never gender-neutral, Enloe claims: It is a personal and political transformation that relies on ideas about femininity and masculinity. Films that equate action with war, condoms that are designed with a camouflage pattern, fashions that celebrate brass buttons and epaulettes, tomato soup that contains pasta shaped like Star Wars weapons—all of these contribute to militaristic values that mold our culture in both war and peace. Presenting new and groundbreaking material that builds on Enloe's acclaimed work in Does Khaki Become You? and Bananas, Beaches, and Bases, Maneuvers takes an international look at the politics of masculinity, nationalism, and globalization. Enloe ranges widely from Japan to Korea, Serbia, Kosovo, Rwanda, Britain, Israel, the United States, and many points in between. She covers a broad variety of subjects: gays in the military, the history of "camp followers," the politics of women who have sexually serviced male soldiers, married life in the military, military nurses, and the recruitment of women into the military. One chapter titled "When Soldiers Rape" explores the many facets of the issue in countries such as Chile, the Philippines, Okinawa, Rwanda, and the United States. Enloe outlines the dilemmas feminists around the globe face in trying to craft theories and strategies that support militarized women, locally and internationally, without unwittingly being militarized themselves. She explores the complicated militarized experiences of women as prostitutes, as rape victims, as mothers, as wives, as nurses, and as feminist activists, and she uncovers the "maneuvers" that military officials and their civilian supporters have made in order to ensure that each of these groups of women feel special and separate.
Alonso Abugattas is more than a fanatical hunter, fisherman, shooter, and mountain climber. The author also possesses a deep, compulsive, and infectious love of the natural world. His writing evokes the pleasures of hunting, fishing, and shooting, as well as the perils of mountain climbing in the Andes during the 1960s. The stories in his book range from vivid eyewitness narratives that involve adventure, travel, personal struggle, and disregard for safety, to Peruvian history, customs, and geography, as well as discussions on ancient Inca civilization. The book is a mesmerizing blend of mountaineering adventure and high-altitude archeological exploration that describes active volcanoes, grave robbers, and Inca mummies. The book recounts the recovery of a mystery woman, presumed dead since 1945, whose body remained undisturbed near the summit of the Misti volcano until the author, with a team of civilians and Peruvian police, discovered her remains in 1965. It was a stunning recovery that made local and national headlines, but it was just the beginning of this intriguing find that for more than fifty years has continued to haunt the author. His vivid eyewitness accounts include a harrowing encounter of an avalanche on Ampato mountain, snow blindness on Coropuna mountain, eruption of the Ubinas Volcano, and his experience with an inexplicable phenomenon in Mauca Arequipa. In this firsthand account, the author chronicles his excitement, obsession, anxiety, and exhilaration as he prepares for and participates in world-class shooting tournaments in Europe and South America. A riveting account documents all the famous high achievers in the shooting world that he was lucky to meet during his quest to find hunting, fishing, and shooting heaven.
Jennifer Moore's debut collection takes its title from a bullfighting technique in which the matador draws the bull with his cape; in these poems, however, traditional moves are reconfigured and roles are subverted. In a broader sense, the word "veronica" (from the Latin vera, or "true" and the Greek eikon, or "image") functions as a frame for exploring the nature of visual experience, and underscores a central question: how do we articulate events or emotions that evade clear understanding? In order to do so, the figures here perform all manner of transformations: from vaudeville star to cartoonist's daughter, from patron saint to "Blue-Eyed Torera; " they are soothsayers, apothecaries, curators, often conjuring selves out of thin air. This dilating and "shape-shifting" of perspective becomes a function of identity: "the absorber and the absorbed become one." Indeed, both speaker and listener must be crafted-willed into being-by each other ("Be your own maestro"), and are apparitions until then. Through a flick of the wrist or a trick of the eye, these speakers understand that construction of a self comes only through performance of that self--which performances are often punctuated with a wink, an unswerving gaze, or both at once.
Waking up caged in a zoo Chella has no idea how she got there. At first it doesn’t seem real. Especially when the beautiful golden dragon in the cage opposite her begins a conversation. She is hauled to appear before three aliens along with her crew. When they are transported to rooms, the aliens inform her that she and her crew have to prove that they can procreate, against which they rebel. So that they will cooperate, the aliens allow them the freedom to explore the tunnels. Finding the zoo, Chella talks to Xando, the dragon. But the aliens discover he’s a shapeshifter and force him to reveal himself, and the man he shifts into is to die for…
That year, five years ago, she was celebrating with her friends for their last days in college but bam, who would have thought that her night end up sleeping with the powerful and influential man in the country. Despite it, she's a realistic woman who didn't expect for anything and even told the man in front of her "You're being clingy, Mr. Sy." However, she woke up one day, her kind politician father was accused of graft and corruption, was chased to death by assasins, and her reputable family was left with noa option but to escape to another country and all those clean, hard year in politics by her father all collapse just forhearing one day. And she? She could do nothing because she was comatose while her parents suffered. Years later, she returned having a formidable yet dangerous background and with the art of war she mastered, no stones remained unturned with her path to the top and *cough* ... .. . lowkey revenge plot while the man she slept four years ago, had become her exclusive *another cough* ........concubine. Another problem arises. This exclusive concubine is possessive and overly jealous!! What to do?!"
Leslee Cramer suffers from multiple personality disorder, the result of childhood abuse. Because of this illness, she has been known to find herself suddenly in strange places with no understanding of how she got there, having lost time along the way. But when she wakes up in a strange bed with a strange man who claims to be her husband, she knows something drastic has changed. It turns out that Lee—Leslee’s alter ego—has been in control for ten years. During that time, she married and had two children, only to have her escapades terrify the kids and alienate her husband, Kevin. Les, at sea in a life she doesn’t recognize, turns to her longtime friend, Veronica Moore, for help. Along with her doctor, Alex Whitfield, Veronica is one of the few people who are aware of Les’s disorder. With their help, Les must find the strength to hold onto her true identity and to recover the family that she is on the brink of losing. Shadow in the Mirror reaches beneath the surface of one woman’s life and peers into the mirrored image of her soul to tell a story of love and forgiveness.
After the epic battle with the Shermanites at the end of the previous novel, the Pope Sherman is after them. They have to head out of the country and make it to Australia which is the only safe place. Their first stop is in Britain where they hold a funeral and collect survivors with no memories. Then they head to Spain and collect more survivors and have to face storms made of ash and soot. They soon head to Peru where they meet Shaddrach’s former lover, Michal. She will be the new villain with her secret power of subtle mind-control. They adventure to Africa where they get trapped fighting Bleeders. Dangerous creatures that bleed a cement-like substance and melt in sunlight. After surviving all of this, Veronica is betrayed by Michal, and she ditches them to stay in Korea in a giant castle where she has to overcome impossible obstacles, tests and mazes by using her knowledge of religious history and getting inside of the Pope’s head to uncover clues, which lead her to magical gems that she can use to enhance her powers or help the others. Meanwhile, the rest of the characters settle down in Australia, assuming political roles over this last makeshift excuse for a civilization. The Pope threatens to make his way to Australia to capture Veronica and use her powers to get stronger. Everyone must join together for this epic battle, and their only hope is that they are all left in the dark about the tasks of their friends. The only way this plan works is if everyone is given their assignments in secret whilst being ignorant of the other people’s assignments and missions. If one fails, they all fail and that means Sherman will win.
volume is the first in a two-volume set which constitutes an edition of the sale catalogue of the private library of Rushton M. Dorman of Chicago, Illinois, a collection numbering 1842 separate items. The book demonstrates book-collecting and reading habits and interests among affluent late 19th-century Americans. In addition, the substance and tone of the comments set down by the original compiler of the catalogue display the marketing methods employed by a major late-19th-century book-auction firm.
Maia Wojciechowska's 1965 Newbery Medal winner about a young boy struggling with his father's legacy. Manolo was only three when his father, the great bullfighter Juan Olivar, died. But Juan is never far from Manolo's consciousness--how could he be, with the entire town of Arcangel waiting for the day Manolo will fulfill his father's legacy? But Manolo has a secret he dares to share with no one--he is a coward, without afición, the love of the sport that enables a bullfighter to rise above his fear and face a raging bull. As the day when he must enter the ring approaches, Manolo finds himself questioning which requires more courage: to follow in his father's legendary footsteps or to pursue his own destiny?