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George Webber has written a successful novel about his family and hometown. When he returns to that town, he is shaken by the force of outrage and hatred that greets him. Family and lifelong friends feel naked and exposed by what they have seen in his books, and their fury drives him from his home. Outcast, George Webber begins a search for his own identity. It takes him to New York and a hectic social whirl; to Paris with an uninhibited group of expatriates; to Berlin, lying cold and sinister under Hitler's shadow.
Afrocentrism has been a controversial but popular movement in schools and universities across America, as well as in black communities. But in We Can't Go Home Again, historian Clarence E. Walker puts Afrocentrism to the acid test, in a thoughtful, passionate, and often blisteringly funny analysis that melts away the pretensions of this "therapeutic mythology." As expounded by Molefi Kete Asante, Yosef Ben-Jochannan, and others, Afrocentrism encourages black Americans to discard their recent history, with its inescapable white presence, and to embrace instead an empowering vision of their African (specifically Egyptian) ancestors as the source of western civilization. Walker marshals a phalanx of serious scholarship to rout these ideas. He shows, for instance, that ancient Egyptian society was not black but a melange of ethnic groups, and questions whether, in any case, the pharaonic regime offers a model for blacks today, asking "if everybody was a King, who built the pyramids?" But for Walker, Afrocentrism is more than simply bad history--it substitutes a feel-good myth of the past for an attempt to grapple with the problems that still confront blacks in a racist society. The modern American black identity is the product of centuries of real history, as Africans and their descendants created new, hybrid cultures--mixing many African ethnic influences with native and European elements. Afrocentrism replaces this complex history with a dubious claim to distant glory. "Afrocentrism offers not an empowering understanding of black Americans' past," Walker concludes, "but a pastiche of 'alien traditions' held together by simplistic fantasies." More to the point, this specious history denies to black Americans the dignity, and power, that springs from an honest understanding of their real history.
Julia Martin is a thriving physical therapist and gym owner with a steady relationship and even a dog. Her life is uncomplicated, simple, and fun, even if she sometimes feels like she’s missed out by never leaving the Midwest town she grew up in. That is until a heartbreak from her past comes crashing back into her world, and everything starts to spin into motion and out of control. Raegan Holcolm thought all they wanted was a proud military career, and that’s what they had. But a sudden injury sends them back to their hometown with a wealth of pain, both physical and emotional, insecurities, and the reality that the career they’d chosen above all else has rejected them. The first time they fell in love, Rae left Jules behind. For love to have a second chance, they’ll need to realize all along that home might have been a person just as much as a place.
This book is a work of fiction about a terrible coal mining accident that happened in Hazard, Kentucky during the early 1980s. The date of the accident was about 1982 plus or minus maybe three years. Its hard to pin it down any better than that. But, I can tell you this much, it occurred back when Catherine Bach was playing the role of Daisy Duke on a TV show called The Dukes of Hazzard. What a beautiful woman she was when she walked across my TV screen. Everything about her body was absolutely adorable and, at the time, she just took my breath away. My protagonist in this particular tale is a man by the name of Caleb Baker. He is a Houston widower who has nothing to do since the passing of his wife. His lifelong friend is the Mayor of Hazard, Honorable Herbert Ray Henry who wants him to return to the mountains where he was born and reared. Henry wants it so bad that he has thrown in analytical laboratory and a staff of two talented people. Bakers first case involves a coal mine explosion. So you can go home again.
Once the province of film and media scholars, today the moving image is of broad concern to historians of art and architecture and designers of everything from websites to cities. As museums and galleries devote increasing space to video installations which no longer presuppose a fixed viewer, urban space becomes envisioned and planned through "fly throughs," and technologies such as GPS add data to the experience of travel, moving images have captured the attention of geographers and scholars across the humanities and social sciences. Their practice of "mobility studies" is remaking how we understand a contemporary world in relentless motion. Media theorist and historian Anne Friedberg (1952-2009) was among the first practitioners of visual studies to theorize the experience of vision in motion. Her books have become key points of reference in the discussion of the windows that frame images and the viewers in motion who perceive them. Although widely influential beyond her own discipline, Friedberg's work has never been the subject of an extended study. The Moving Eye: Film, Television, Architecture, Visual Art and the Modern gathers together essays by renowned thinkers in media studies, art history, architecture, and museum studies to consider the rich implications of her work for understanding film and video, new media, visual art, architecture, exhibition design, urban space, and virtual reality. Ranging from early cinema, to works by Le Corbusier, Sergei Eisenstein, Gordon Matta-Clark, and Pierre Huyghe, to theories of the image in motion informed by psychoanalysis, theories of the public sphere, and animal studies, each of the nine essays in the book advances the lines of inquiry commenced by Friedberg.
In this revelatory book, esteemed family therapist Monica McGoldrick explores why families behave as they do, using genograms (family trees) to illustrate family patterns. Mapped out over a three-generation span, repeated estrangements, alliances, even divorces and suicides, prove more than coincidental. McGoldrick uses the genograms of famous families - including the Kennedys, Hepburns, Beethovens and Brontes - the discuss the influence of birth order and sibling rivalry, family myths and secrets, cultural differences, couple relationships and the pivotal role of loss. Relevant questions to ask appear at the end of each chapter, helping the reader become researcher, uncovering information previously withheld, misunderstood or overlooked.
You Can Go Home Again opens with a story of growing up black in the hostile and segregated South, where even at nine years old, Dave already realizes a striking difference between how black and white people are treated. Dave's parents are law-abiding citizens and God-fearing Christians, but this is still the era of segregation with its rampant racism, and a time when a black boy faces a dismal future. Determined to beat the odds, Dave holds tight to his dreams even while chafing against his loving but strict upbringing. As soon as he's old enough, he joins the Marines and begins to discover the world. Upon his return from Japan, he moves to Philadelphia and begins to discover life and learns the hard way that dreams don't always come true. You Can Go Home Again, Fred's second book, is the prequel to his first book, The Delivery Man.
This book is a compilation of stories and lifetime experiences over a seventy-one year period in the author’s life. From World War II through the Space Age: from childhood innocence through the adventures of adulthood. All of this, motivated by her desire for her children, grandchildren, and subsequent generations to see what she has seen, and know her as a person. “I’ve always wished I had asked my grandmothers more questions about their lives. I don’t think I’m unique in that respect,” she says. Its filled with humor, history, and simply the joy of living while striving to become the person you think you were meant to be.