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To escape a serial killer, a woman with no memory must trust the man who says he saved her life in this tense romantic thriller. United States marshal Eli Cayne saved Julia Galloway’s life once . . . and he’s prepared to do it again. But his task would be easier if she had any memory of him—or the murderer who seems to be hunting her once again To protect Julia from the latest threat against her life, Eli has to consider the possibility that he put an innocent man in jail. Julia has no memories of the serial killer called the Hangman, though, and no reason to trust Eli. But with the killer getting closer, she must work with Eli to confront her past—and the feelings growing between them.
In 2009, Emily Page's father was diagnosed with frontotemporal dementia, a form a dementia that strikes earlier and progresses more quickly than Alzheimer's, and for which there is no treatment to slow the progression of the disease. She began documenting in writing and art her family's heartbreaking and hilarious experiences. As a professional artist, she had often turned to art as a self-prescribed therapy to help deal with life's trials. This battle was no different. She utilized the elephant as a symbol for dementia, and incorporated sheet music into the paintings because her dad had been a jazz musician. Eventually, she created 40 paintings that are included in this book. At the insistence of a friend, she also began blogging about the range of issues that arose daily as the disease progressed, documenting everything from her own fear of getting dementia, to her dad's transition to diapers (and the various places he opted to drop his drawers and just "go" regardless of the diapers), to combatting his compulsions, to the best ways to make him giggle, to an exploration of how he might have gotten the disease. Page doesn't shy away from the ugly, raw emotion of life with dementia, but she also looks for the laughter where it can be found. Rest assured, you will love her father as much as she does when the book is done, and maybe gain some insight about how to cope with your own loved one's dementia or to support a caregiver.
One of the sacred offerings of therapy that's protected by a code of ethics is the gift of confidentiality. The purpose of this book is to guide readers through the healing steps of therapy. In this book, you'll discover the resiliency of the human soul as it's protected and shepherded by a gifted mental health professional. The ultimate aim of this book is not to highlight darkness but to emphasize the truth that healing is possible-if those who seek it are dedicated to the work required to obtain this gift.
In 1989, Robert B. Oxnam, the successful China scholar and president of the Asia Society, faced up to what he thought was his biggest personal challenge: alcoholism. But this dependency masked a problem far more serious: Multiple Personality Disorder. At the peak of his professional career, after having led the Asia Society for nearly a decade, Oxnam was haunted by periodic blackouts and episodic rages. After his family and friends intervened, Oxnam received help from a psychiatrist, Dr. Jeffrey Smith, and entered a rehab center. It wasn't until 1990 during a session with Dr. Smith that the first of Oxnam's eleven alternate personalities--an angry young boy named Tommy--suddenly emerged. With Dr. Smith's help, Oxnam began the exhausting and fascinating process of uncovering his many personalities and the childhood trauma that caused his condition. This is the powerful and moving story of one person's struggle with this terrifying illness. The book includes an epilogue by Dr. Smith in which he describes Robert's case, the treatment, and the nature of multiple personality disorder. Robert's courage in facing his situation and overcoming his painful past makes for a dramatic and inspiring book.
In the last quarter of the twentieth century, the ideas that most Americans lived by started to fragment. Mid-century concepts of national consensus, managed markets, gender and racial identities, citizen obligation, and historical memory became more fluid. Flexible markets pushed aside Keynesian macroeconomic structures. Racial and gender solidarity divided into multiple identities; community responsibility shrank to smaller circles. In this wide-ranging narrative, Daniel Rodgers shows how the collective purposes and meanings that had framed social debate became unhinged and uncertain. Age of Fracture offers a powerful reinterpretation of the ways in which the decades surrounding the 1980s changed America. Through a contagion of visions and metaphors, on both the intellectual right and the intellectual left, earlier notions of history and society that stressed solidity, collective institutions, and social circumstances gave way to a more individualized human nature that emphasized choice, agency, performance, and desire. On a broad canvas that includes Michel Foucault, Ronald Reagan, Judith Butler, Charles Murray, Jeffrey Sachs, and many more, Rodgers explains how structures of power came to seem less important than market choice and fluid selves. Cutting across the social and political arenas of late-twentieth-century life and thought, from economic theory and the culture wars to disputes over poverty, color-blindness, and sisterhood, Rodgers reveals how our categories of social reality have been fractured and destabilized. As we survey the intellectual wreckage of this war of ideas, we better understand the emergence of our present age of uncertainty.
Peru's Truth and Reconciliation Commission not only documented the political violence of the 1980s and 1990s but also gave Peruvians a unique opportunity to examine the causes and nature of that violence. In Art from a Fractured Past, scholars and artists expand on the commission's work, arguing for broadening the definition of the testimonial to include various forms of artistic production as documentary evidence. Their innovative focus on representation offers new and compelling perspectives on how Peruvians experienced those years and how they have attempted to come to terms with the memories and legacies of violence. Their findings about Peru offer insight into questions of art, memory, and truth that resonate throughout Latin America in the wake of "dirty wars" of the last half century. Exploring diverse works of art, including memorials, drawings, theater, film, songs, painted wooden retablos (three-dimensional boxes), and fiction, including an acclaimed graphic novel, the contributors show that art, not constrained by literal truth, can generate new opportunities for empathetic understanding and solidarity. Contributors. Ricardo Caro Cárdenas, Jesús Cossio, Ponciano del Pino, Cynthia M. Garza, Edilberto Jímenez Quispe, Cynthia E. Milton, Jonathan Ritter, Luis Rossell, Steve J. Stern, María Eugenia Ulfe, Víctor Vich, Alfredo Villar
While the fall of the Berlin Wall is positively commemorated in the West, the intervening years have shown that the former Soviet Bloc has a more complicated view of its legacy. In post-communist Eastern Europe, the way people remember state socialism is closely intertwined with the manner in which they envision historical justice. Twenty Years After Communism is concerned with the explosion of a politics of memory triggered by the fall of state socialism in Eastern Europe, and it takes a comparative look at the ways that communism and its demise have been commemorated (or not commemorated) by major political actors across the region. The book is built on three premises. The first is that political actors always strive to come to terms with the history of their communities in order to generate a sense of order in their personal and collective lives. Second, new leaders sometimes find it advantageous to mete out justice on the politicians of abolished regimes, and whether and how they do so depends heavily on their interpretation and assessment of the collective past. Finally, remembering the past, particularly collectively, is always a political process, thus the politics of memory and commemoration needs to be studied as an integral part of the establishment of new collective identities and new principles of political legitimacy. Each chapter takes a detailed look at the commemorative ceremony of a different country of the former Soviet Bloc. Collectively the book looks at patterns of extrication from state socialism, patterns of ethnic and class conflict, the strategies of communist successor parties, and the cultural traditions of a given country that influence the way official collective memory is constructed. Twenty Years After Communism develops a new analytical and explanatory framework that helps readers to understand the utility of historical memory as an important and understudied part of democratization.
Crucial conversations about feminist theories and how they can fall apart, rupture, and fragment.
This is the destiny of those who stand for others. Their honor will be bought in blood and pain. The Camp Ryder Hub is broken. Lee is nowhere to be found, and his allies are scattered across the state, each of them learning that their missions will not be as easy as they thought. Inside the walls of Camp Ryder, a silent war is brewing, between those few that still support Lee's vision of rebuilding, and the majority that support Jerry's desire for isolation. But this war will not remain silent for long. And in this savage world, everyone will have to make a choice. To keep their morals. Or keep their lives.
Story/telling is an eclectic and fascinating collection of stories and stories about stories. With passion and verve, some of Australia's finest writers range through vast territory exploring new directions in film and media, enigmas and creativity, histories of mothering, narratives of indigenous and migrant experience, folk, country and multicultural music traditions, and dilemmas of interpretation.These writers appreciate the power of stories, for good and ill. They interrogate narratives of Australia's past and present and call for new stories for changing times. We hear voices, raised one moment, subdued the next, as if we were sitting in the Forum tent at the Woodford Festival, knowing that here and just beyond, in paint, dance, music and words, stories are happening in delicious abundance.