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Life styles in California, New York and Arizona are grumbled at to create a hilarious reading experience.
As Kevin Allen sat and watched TV one cold wet evening, he had no idea his life was about to change forever! Six days later he was standing in Africa desperately searching for a young Zulu boy to save his life. Join him on his incredible two-year journey as he becomes a reluctant hero to a forgotten Zulu community and an accidental father to a thousand desperate children.
"What do you do when the world's most famous atheist mocks and insults you on international television, in universities, and throughout social media? You look to the Bible and see how Joseph was humiliated before the time came when God opened a big door of opportunity for him, and how Moses was abased before God opened a big sea for him. You take comfort in the Scriptures-in the knowledge that those who trusted God were often the object of ''cruel mockings,'' and in the principle of humiliation before promotion, of God taking someone low before raising them up for His use. And that's precisely what happened when Ray Comfort was christened ''Banana Man'' by Professor Richard Dawkins and then mocked worldwide by the atheist community. It was then that something strange and wonderful began to happen. Millions came under the sound of the everlasting gospel, all because of that humiliating name: Banana Man. So if you're afraid of looking foolish as a Christian, this true story not only will fascinate, delight, and encourage you, it will help you to see God's hand in your life and bring your own fears into perspective. Endorsement quotes: ''What an appealing story! Banana Man will show how you can bear sweet and lasting fruit in this often hostile world.'' -David and Jason Benham ''I can't eat a banana anymore without thinking of Ray.''"
Ambitious entrepreneurs, isthmian politicians, and mercenaries who dramatically altered Central America's political culture, economies, and even its traditional social values populate this lively story of a generation of North and Central Americans and their roles in the transformation of Central America from the late nineteenth century until the onset of the Depression. The Banana Men is a study of modernization, its benefits, and its often frightful costs. The colorful characters in this study are fascinating, if not always admirable. Sam "the Banana Man" Zemurray, a Bessarabian Jewish immigrant, made a fortune in Honduran bananas after he got into the business of "revolutin," and his exploits are now legendary. His hired mercenary Lee Christmas, a bellicose Mississippian, made a reputation in Honduras as a man who could use a weapon. The supporting cast includes Minor Keith, a railroad builder and banana baron; Manuel Bonilla, the Honduran mulatto whose cause Zemurray subsidized; and Jose Santos Zelaya, who ruled Nicaragua from 1893 to 1910. The political and social turmoil of the modern Central America cannot be understood without reference to the fifty-year epoch in which the United States imposed its political and economic influence on vulnerable Central American societies. The predicament of Central Americans today, as isthmian peoples know, is rooted in their past, and North Americans have had a great deal to do with the shaping of their history, for better or worse.
When Samuel Zemurray arrived in America in 1891, he was gangly and penniless. When he died in New Orleans 69 years later, he was among the richest men in the world. He conquered the United Fruit Company, and is a symbol of the best and worst of the United States.
For most of Mathew Millers life, due to his near death experience he sees things that others cannot see. The creatures in his other world have only bothered him by sight, until one day he sees a man curled up in his backyard. The man to his shock turns out to be a 7ft tall banana, shaped like a man. It is also the first humanoid to show up in his invisible world and the first one that he can touch. When he makes the mistake of helping this banana man and fixing its broken peels, he accidentally gives it permission to touch him back. Because of his tendency to randomly freak out over the entities interfering with his life he is designated as one of the crazy kids in his school. His only friend is another kid named Jack, who truly is crazy, but is also the only one crazy enough to actually believe him and his stories. The only thing separating him from a horrible death is unknown rules such as doorways and the fact that the creature cannot enter them without being invited first, and a mysterious tower that has formed in the middle of his block that only he can see. Now running for his life with a crazy person as his only ally, Mathew has to learn the secrets to his other world and why this creature so relentlessly wants to drill in the top of his head with the tip of its banana head.
Why do human beings feel shame? What is the cultural dimension of shame and sexuality? Can theory understand the power of affect? How is psychoanalysis integral to cultural theory? The experience of shame is a profound, painful and universal emotion with lasting effects on many aspects of public life and human culture. Rooted in childhood experience, linked to sexuality and the cultural norms which regulate the body and its pleasures, shame is uniquely human. Shame and Sexuality explores elements of shame in human psychology and the cultures of art, film, photography and textiles. This volume is divided into two distinct sections allowing the reader to compare and contrast the psychoanalytic and the cultural writings. Part I, Psychoanalysis, provides a psychoanalytic approach to shame, using clinical examples to explore the function of unconscious fantasies, the shame shield in child sexual abuse, and the puzzling manner in which shame attaches itself to sexuality. Part II, Visual Culture, is illustrated throughout with textual analysis; contributors explore shame and sexuality in art history, politics and contemporary visual culture, including the gendering of shame, shame and abjection, and the relationship between shame and shamelessness as a strategy of resistance. Claire Pajaczkowska and Ivan Ward bring together debates within and between the discourses of psychoanalysis and visual culture, generating new avenues of enquiry for scholars of culture, theory and psychoanalysis.