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Something was wrong--very wrong. Even the receptionist knew it. They would fit me in. Suddenly I was on a high-speed train--going someplace that I did not want to go. I didn't have a reservation. I didn't have a destination. It didn't matter. I had the symptom. I could come on board. As the train sped rapidly down the track, my primary care physician arranged an array of appointments with other physicians and various diagnostic tests. Descriptions of the pictures of my inner body did not verify the presence or absence of cancer. Instead they suggested a diverse assortment of diagnoses. It was like having to choose an answer for a multiple-choice question but choosing the answer that I liked best--most likely a fibroid--was not an option. Fiews from the Other Side of the Looking Glass: Reflections on My Journey with Ovarian Cancer captures author Terry Downey's experiences with a silent but deadly cancer. Downey describes finding herself on a high speed train going places that she did not want to go. As she progressed through diagnosis, surgery, chemotherapy, and radioimmune therapy, those who made the journey with her helped to transform her feelings of hopelessness and despair into feelings of hope and courage.
This is a memoir. Four years out of the life of an average American who did his time in service, only to find that he has to start over again in a country still at war and with a shattered economy. He finds that there is a way to make a living, and that is in the military-industrial complex, the new job market that had arisen when the Twin Towers fell on 9/11. In this world, he makes ends meet. He is able to support his family but is in the crosshairs of the enemy 24/7. All it takes is one mortar shell, one rocket strike, and one bullet to meet his fate. Although he is out of active military service, he is in a combat zone. His life is in danger, just like theirs, but for him, there are no welcome home parties and no yellow ribbons. Before, he was looked at as a hero; now, hes just an opportunist, a mercenary. But on this side, you see the way things are in this new world of outsourced war.
This book is a raw journey walked beside a loving spouse through a cancer diagnosis, treatment, and symptoms. The transition into a caregiver position without even having the option of applying for it. The emotions that ran high and the weight of it all on a young family. A therapeutic outlet of daily journaling turned into a voice of validation. This book was wrote in hopes that anyone else that finds themselves in a dark season in their journey of life that can not find the words to express their feelings and concerns can connect with the similarities of my journey and have validation of their feelings and thoughts. I have expressed the bumps and hardships on our journey as well as the blessings. I dug deep and searched for a daily practice that would serve me and those around me to offer hope and strength to conquer the day ahead. No one is immune to having human experiences. I have offered quotes and lyrics that helped me get through the toughest of times. I hope it helps you too.
What made Ted Bundy or Jeffrey Dahmer commit their crimes against humanity? Ever wonder about these things? Ever wonder what makes people do bad, evil, vile things to others? Welcome to the world according to James. Who is he? Is he your neighbour? Your friend? Your brother? He could be anyone, even the guy standing right next to you. This is his story, his journal, sketching down his every thought, deed, and desire. It's his attempt to corrupt the innocent, to show that he is no different then anyone else. Do you have the stomach for it?
The Myth: Alice was an ordinary girl who stepped through the looking glass and entered a fairy-tale world invented by Lewis Carroll in his famous storybook. The Truth: Wonderland is real. Alyss Heart is the heir to the throne, until her murderous aunt Redd steals the crown and kills Alyss? parents. To escape Redd, Alyss and her bodyguard, Hatter Madigan, must flee to our world through the Pool of Tears. But in the pool Alyss and Hatter are separated. Lost and alone in Victorian London, Alyss is befriended by an aspiring author to whom she tells the violent, heartbreaking story of her young life. Yet he gets the story all wrong. Hatter Madigan knows the truth only too well, and he is searching every corner of our world to find the lost princess and return her to Wonderland so she may battle Redd for her rightful place as the Queen of Hearts.
Philosophers on Film from Bergson to Badiou is an anthology of writings on cinema and film by many of the major thinkers in continental philosophy. The book presents a selection of fundamental texts, each accompanied by an introduction and exposition by the editor, Christopher Kul-Want, that places the philosophers within a historical and intellectual framework of aesthetic and social thought. Encompassing a range of intellectual traditions—Marxism, phenomenology, psychoanalysis, poststructuralism, gender and affect theories—this critical reader features writings by Bergson, Benjamin, Adorno and Horkheimer, Merleau-Ponty, Baudrillard, Irigaray, Lyotard, Deleuze, Kristeva, Agamben, Žižek, Nancy, Cavell, Rancière, Badiou, Stiegler, and Silverman. Many of the texts discuss cinema as a mass medium; others develop phenomenological analyses of particular films. Reflecting upon the potential of films to challenge dominant forms of ideology, the anthology considers the ways in which they can disrupt the clichés of capitalist images and offer radical possibilities for creating new worlds of visceral experience outside the grasp of habitual forms of knowledge and subjectivity. Ranging from the early silent period of cinema through the classics of European and Hollywood cinema to the early twenty-first century, the films discussed offer a vivid sense of these philosophers’ concepts and ideas, casting new light on the history of cinema. This reader is an essential and valuable resource for a wide range of courses in film and philosophy.
An anthology spanning six decades of on-the-scene journalism from “one of the most eloquent witnesses of the twentieth century” (Bill Buford, Granta). For nearly sixty years, Martha Gellhorn traveled the globe to report on the tumult and extremity of life in the twentieth century. The View from the Ground, as Gellhorn explains, “is a selection of articles written during six decades; peace-time reporting. That is to say, the countries in the background were at peace at the moment of writing; not that there was peace on earth.” Included here are accounts of America during the Depression, Israel and Palestine in the 1950s, post-Franco Spain, protests at the White House, domestic life in Africa, and Gellhorn’s return to Cuba after a forty-one-year absence—among many other topics. Informed by the horrors of fascism in Spain and Germany, the modern terror in Central America, and by the courage of those who stand up to the thugs both in an out of government, The View from the Ground is a singular act of testimony that, like its companion volume, The Face of War, is “an eloquent, unforgettable history of a chaotic century” (San Francisco Chronicle).
Marilyn Aronberg Lavin has taught the history of art at Washington University, the University of Maryland, Yale, Princeton, and Universita di Roma, La Sapienza. Specializing in Italian 13th-16th century painting, she is internationally known for her books and articles on Piero della Francesca. Her other books include The Place of Narrative: Mural Painting in Italian Churches, 431-1600 AD., and Seventeenth-Century Barberini Documents and Inventories of Art , both of which were recipients of international prizes for distinguished scholarship. She is one of the leaders in the use of computers and digitized imagery for research, teaching, and publication in the history of art. This book offers a series of case studies intended to introduce and define an important class of fifteenth-century Italian art not previously recognized. It is argued that the paintings and sculptures discussed were created privately by artists for personal satisfaction and internal needs, outside the traditional framework of patronage and commercial gain. Since there is no direct documentation from this period of a work being privately made, the selection presented here is necessarily speculative. Instead, the essays focus on works by Piero della Francesca, Mantegna, Michelangelo, Bellini, and Titian that appear in the artists' testaments, letters of refusals to sell, and inventories showing ownership at the time of death. The task at hand is to uncover the motivation and meaning of works of art in which the medieval craftsman began to rise to the status of independent artist, and the maker and the viewer confront each other face to face for the first time.