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A lost girl. A broken boy. A haunting mystery. Behind every secret, there is a story.
A groundbreaking study, the first ever, of women exectuvies in Fortune 100-sized companies.
A tough, unsentimental novel of war and survival, for older readers. Following the outbreak of war between NATO and the Warsaw Pact, Western Europe has been overrun by the Red Army, and the south-eastern corner of England occupied. Renewed hostilities five years later result in a biological weapon being dropped on Leicester. Told largely in flashback twelve years after the attack, the story follows Darren, an ordinary boy who gets caught up in the renewed conflict, and becomes one of the few survivors of the 'germ bomb'. His struggle for survival amidst the anarchy and devastation of the contaminated Midlands, now cordoned off from the rest of the country, is related with honesty and a direct, matter-of-fact realism.
Kicked out of a cult at seventeen, Patricia Walsh Chadwick started on the bottom rung of the ladder in the world of business and worked her way to the top—breaking through the glass ceiling to become a global partner at Invesco. Patricia grew up in a religious community-turned-cult in the Boston area. At the age of seventeen, she was forced out of her home, leaving behind her entire family, and without access to higher education. From her first job as a receptionist at a brokerage firm, she clawed her way up the ladder—rung by rung—in that bastion of male chauvinism: Wall Street. By going to college at night, she achieved her degree in economics from Boston University, and from there, she headed to New York City. With a drive that earned her the moniker “Witch of Wall Street,” she rose from the ranks of research analyst to portfolio manager, where she was responsible for billions of dollars in pension and endowment assets. A turning point in her life was giving birth to twins at the age of forty-five, and she continued forward in her career, becoming a global partner at Invesco. At the turn of the millennium, she left Wall Street behind and embarked on a second career as a corporate board director.
"A prime resource for any leader's library." -James Mattis, General, US Marines (ret), and 26th Secretary of Defense Today, our nation is like a ship being tossed in tumultuous seas. The winds and waves of change have divided and distanced our society, threatening to wash away the very principles our nation was founded upon. Now more than ever, our nation needs leaders with the moral courage to stand strong and steady-leaders capable of uniting people in support of a shared purpose by building the trust and respect necessary for organizations and their people to thrive. In Breaking Ice and Breaking Glass, Admiral Sandy Stosz draws upon her forty years of extensive experience and wisdom to provide tools that will help leaders reach their goals and succeed at every level. Character-centered, proven leadership principles emerge from these engaging, personal stories that teach leaders how to find, and then become, an inspiring mentor; implement successful diversity, inclusion, and equity programs; successfully lead in a complex environment; and much more. Leaders eager to make a difference by helping people and organizations be their best will find Breaking Ice and Breaking Glass: Leading in Uncharted Waters their go-to resource.
"Classical works have for us become covered with the glassy armor of familiarity," wrote Victor Shklovsky in 1914. Here Kristin Thompson "defamiliarizes" the reader with eleven different films. Developing the technique formulated in her Eisenstein's Ivan the Terrible (Princeton, 1981), she clearly demonstrates the flexibility of the neoformalist approach. She argues that critics often use cut-and-dried methods and choose films that easily fit those methods. Neoformalism, on the other hand, encourages the critic to deal with each film differently and to modify his or her analytical assumptions continually. Thompson's analyses are thus refreshingly varied and revealing, ranging from an ordinary Hollywood film, Terror by Night, to such masterpieces as Late Spring and Lancelot du Lac. She proposes a formal historical way of dealing with realism, using Bicycle Thieves and The Rules of the Game as examples. Stage Fright and Laura provide cases in which the classical cinema defamiliarizes its own conventions by playing with audience expectations. Other chapters deal with Tati's Les Vacances de Monsieur Hulot and Play Time and Godard's Tout va bien and Sauve qui peut (la vie). Although neoformalist analysis is a rigorous, distinctive approach, it avoids extensive specialized vocabulary and esoteric concepts: the essays here can be read separately by those interested in the individual films. The book's overall purpose, however, goes beyond making these particular films more accessible and intriguing to propose new ways of looking at cinema as a whole.
Within a relatively short time, Augmented and Virtual Reality have emerged centre stage in architecture and the arts as novel means for exploring how their creative output is produced, mediated and experienced. Feeding the continuous spectrum between the "fully real" and the "fully virtual," the underlying technology of these media present machine-generated sensorial input where to date the image-based dominate. With these inputs, corporeal existence see "virtual" experiences thrown on the scale with "real" ones as the concepts and models for how we understand perceptional dynamics are shifting. While teasing the disciplines with creative opportunities, the use of the media presents a staggering number of acute questions, not the least with respect to corporeal experience, the human-machine interface and what constitutes the "real." Augmented and Virtual Reality invite to re-examine established ways of thinking and making within architecture and the arts and open onto an uncharted territory of what comprises architectural and artistic experience. With Breaking Glass: Spatial Fabulations & Other Tales of Represen- tation in Virtual Reality, select topics central to Augmented and Virtual Reality in architecture and the arts are addressed. It is published in conjunction with the conference Breaking Glass III: Virtual Space, the third and last in a series hosted by the Städelschule. The publication includes texts by, among others, Martine Beugnet, Michael Young, Curtis Roth and Lara Lesmes and Fredrik Hellberg as well as conversations that Daniel Birnbaum respectively had with Sanford Kwinter and Sven-Olov Wallenstein. In addition, a series of visual portfolios by architects and artists presents works. Finally, the publication features the award winning projects of Städelschule Architecture Class' AIV Master Thesis Prize 2019. The issue has been edited by Yara Feghali and the editorial team of the Städelschule Architecture Class. It has been made possible with the generous support of the Aventis Foundation and the Dr. Marschner Foundation.
It’s summer, 2016. Chelsea Farmer has awoken from one nightmare into another. Once a call girl with no control over her life, she’s lost even more control, becoming another statistic in the opioid epidemic eating America from the inside out. Shacking up with a woman she may or may not be in love with, and three men unaware of just how useless they’ve become, she participates in home invasions to steal material goods that can be traded for pills or, even better, heroin. In between hits, the gang finds other ways to scrape together money, such as getting paid to march in a protest-turned-riot against presidential candidate Donald Trump. As the habit increases, calls for more crimes to feed it, the boys get increasingly violent with the victims of their home invasions. How long will it be before they actually kill a homeowner who refuses to cooperate? Chelsea must decide whether or not she’s willing to hang around and find out. Praise for BREAKING GLASS: “Alec Cizak hits streets we don’t want to live on and he hits them hard. For a writer as good as Cizak, that isn’t enough. Breaking Glass is the story of an addict who stumbles into a chance at recovery only to have her past come back on her. Can she redeem herself while maintaining her newfound peaceful self? This book raises brutal questions and gives the answers it must.” —Rob Pierce “Alec Cizak continues to tap into the bleakness of modern life that he did with Down on the Street. Breaking Glass is so dark and troubling it will make you cry for mercy as he joins Poe and Lovecraft in finding new ways to disturb you.” —David Nemeth “In addition to containing the single best death scene—ever, in the history of writing—Alec Cizak’s Breaking Glass paints a condemnation and a begrudging acceptance of our post-PC culture, told through the eyes of Chelsea Farmer, a millennial dope fiend. Part Tom Sawyer and part Alex from A Clockwork Orange, Chelsea takes us on a tour of an America where hardcore violence and sickening sexual predation are givens; yet subliminal microaggressions end careers and the definition of rape is as elusive and fluid as a spoon-cooked tab of oxycontin. I was hooked.” —Grant Jerkins “Alec Cizak’s writing is clean, full of dark humor and pulpy edge; all of which highlights his fast dialogue and faster plot. His expert use of language allows him to build believable, interesting characters and create realistic, though bleak, situations. Manifesto Destination and Down on the Street solidify his position next to the greatest writers of hard-boiled fiction. Every story he creates is thrilling and compelling.” —Marietta Miles
"As elliptical and demanding as Emily Dickinson, Valentine consistently rewards the reader."—Library Journal In her eleventh collection—honored as a finalist for the Pulitzer Prize in poetry—Jean Valentine characteristically weds a moral imperative to imaginative and linguistic leaps and bounds. Whether writing elegies, meditations on aging, or an extended homage to Lucy, the earliest known hominid, the pared-down compactness of her tone and vision reveals a singular voice in American poetry. As Adrienne Rich has said of Valentine's work, "This is a poetry of the highest order, because it lets us into spaces and meanings we couldn't approach in any other way." From "If a Person Visits Someone in a Dream, in Some Cultures the Dreamer Thanks Them": At a hotel in another star. The rooms were cold and damp, we were both at the desk at midnight asking if they had any heaters. They had one heater. You are ill, please you take it. Thank you for visiting my dream. * Can you breathe all right? Break the glass shout break the glass force the room break the thread Open the music behind the glass . . . Jean Valentine, a former State Poet of New York, earned a National Book Award, the Wallace Stevens Award, and the Shelley Memorial Prize. She has taught at Sarah Lawrence, New York University, and Columbia University. She lives in the Morningside Heights neighborhood of New York City.