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Goodison Park is one of British sport's most fabled venues: the home of Everton FC since 1892 and one of the last traditional football amphitheatres. It has witnessed highs and lows and been graced by the likes of Dixie Dean, Tommy Lawton, Alan Ball, Bob Latchford, Gary Lineker, Pele and Eusebio. As the Toffees prepare to move to the waterfront, Goodison Memories celebrates that legendary stadium with vivid recollections not from Evertonians, but from opposition players, managers, officials and sports journalists. The result is a collection of candid interviews that capture the essence of Goodison Park. Listen to their tales of the Everton players they remember with fondness, priceless anecdotes and memories of the atmosphere and features of the stadium. Have you ever wondered what it was like for the broadcasters to sit on the TV gantry, the press to work from the press box? What was it like for match officials to take charge of the game and handle the characters on the Goodison turf? Goodison Memories holds all the answers.
The first book on pan-Caribbean life writing, Dreams of Archives Unfolded reveals the innovative formal practices used to write about historical absences within contemporary personal narratives. Although the premier genres of writing postcoloniality in the Caribbean have been understood to be fiction and poetry, established figures such as Erna Brodber, Maryse Condé, Lorna Goodison, Edwidge Danticat, Saidiya Hartmann, Ruth Behar, and Dionne Brand and emerging writers such as Yvonne Shorter Brown, and Gaiutra Bahadur use life writing to question the relationship between the past and the present. Stitt theorizes that the remarkable flowering of life writing by Caribbean women since 2000 is not an imitation of the “memoir boom” in North America and Europe; instead, it marks a different use of the genre born out of encountering gendered absences in archives and ancestral memory that cannot be filled with more research. Dreams of Archives makes a significant contribution to studies of Caribbean literature by demonstrating that women’s autobiographical narratives published in the past twenty years are feminist epistemological projects that rework Caribbean studies’ longstanding commitment to creating counter-archives.
Making History Happen: Caribbean Poetry in America examines Lorna Goodison’s Turn Thanks (1999), McCallum’s The Water Between Us (1999), and Claudia Rankine’s Plot (2001) and Don’t Let Me Be Lonely (2004). Engaging familiar themes and issues of time, language, and identity, the readings focus on “Signifying” moments in the works of the poets under discussion. Reflecting on some of the ways that transnational women poets of the black diaspora are using tropes of mobility to create a renewed sense of identity and a sense of belonging to a communal network, the readings also demonstrate that the project of re-writing individual self-identity in light of one’s expanding consciousness or awareness of the “other” is more urgent, and more demandingly realistic, in contemporary poetry written by women poets who occupy transnational spaces. In these works, re-memory becomes a process that transforms, the gathering of memory reflecting the interrelatedness of communal and individual subjective identities. Rankine’s poetry collections are used to close the discourse in this book, for the call they make. An intriguing crossing of genres, their structural use of time and space reflects the stylistic inventiveness that has become a hallmark of transnational poets of the black diaspora. In its transformation of language, and of images that remain open-ended in their meanings, Don’t Let Me Be Lonely fuses poetry, dialogue, and prose with images from television and other forms of communication media to create a poetic collection that is relentless in its confrontation with the way we make cultural meanings. The collection of essays in this book calls attention to an emerging poetic body of Caribbean writing in America that requires naming, for it is new.
This book features interviews with fifty former Everton players who have lived my boyhood dream to grace the famous Goodison turf in the royal blue jersey. My writing days began as a hobby back in 2012 when I submitted articles and match reports for a couple of Everton websites under the pseudonym, 'Blue Echo'. Inside this first edition of 'Blue Echo' interviews, these players tell their own story of their time at Everton. I sincerely hope one of your favourite players is included, and that you enjoy reading their stories. We as fans know what the club motto Nil Satis Nisi Optimum means to us. These interviews highlight exactly what being at Everton means to the players, too.
Do you still curse yourself over the day you met your hero; when instead of asking him the one question that's been nagging you for years, you couldn't utter a word because you were suddenly (and uncharacteristically) struck dumb? Well, curse no more. Still Talking Blue is a unique collection of interviews that will answer everything you wanted to know about your Everton heroes and with none of the unnecessary waffle - because it only asks the relevant questions, as submitted by the fans. Collated via the Internet, disenfranchised Evertonions scattered across the globe proudly display their astounding recall of bygone events and trivia. From Iceland to South Africa, Australia to Israel, long-suffering Bluenoses are finally given the opportunity to ask questions of their heroes and they do so with panache. The book contains in-depth interviews spanning the decades from the '50s, when shorts were long and Dave Hickson's quiff was the envy of Hollywood, right through to Dave Watson's final days at the club. Join us as we endeavour to track down John Bailey's 'big hat' and Gordon West's handbag, and move seamlessly on to more pressing topics such as Kevin Ratcliffe's biggest regret, Mick Lyon's worst injury and Alan Harper's favourite goal. So, if you lie awake at night wondering just what went wrong in the '68 Cup Final, whether Jimmy Gabriel still has his white trench coat, if Barry Horne really does like The Cocteau Twins or how Dave Hickson has managed to hang on to his hair, then unfurrow your brow because the answers all lie within these pages. No Evertonion should be expected to survive without this book.
Jamaican Poet Laureate Lorna Goodison searches for answers for herself and other Caribbean-based descendants of enslaved Africans by examining and presenting different spiritualities in her poetry in the hope of providing alternatives to the psyche in need of healing after the traumatic events of the infamous transatlantic Middle Passage. The inclusion of Sufism in her poetry seems to have a dual purpose, in that it offers a “new” creative angle and a sincere belief in its power to provide relief from personal anguish. The fact that Sufism is similar to Jamaican-based religions works in its favor. Can Jamaicans, who are Goodison’s primary subject, really relate to its message? She does not underestimate her audience’s capacity for change or their willingness to accept the ideas of Sufism. Her role as facilitator is not a secret; she is openly promoting her ideas and her belief that healing is possible. This book is divided into three chapters. In Chapter One, a brief history of slavery in the Caribbean region with a focus on Jamaica is presented. The second chapter explicitly focuses on Lorna Goodison and her use of the written word to reveal her feelings about her ancestors’ (and her own) traumatic past. It also defines Sufism, includes some examples of Sufi poems, and shows what aspects of Sufism resonate with Jamaican Revivalism and Rastafarianism. The final chapter first makes reference to how Sufi elements have been used by other writers such as Alfred, Lord Tennyson, Walt Whitman, Thomas Merton, and Doris Lessing, and then illustrates how, contrary to these others, Goodison is the only one to apply Sufi ideals to a Caribbean context, thus falling into her own creative category, that of a new Caribbean literary canon.
From Miss Lou to Bob Marley and Usain Bolt to Kamala Harris, Jamaica has had an outsized reach in global mainstream culture. Yet many of its most important historical, cultural, and political events and aspects are largely unknown beyond the island. The Jamaica Reader presents a panoramic history of the country, from its precontact indigenous origins to the present. Combining more than one hundred classic and lesser-known texts that include journalism, lyrics, memoir, and poetry, the Reader showcases myriad voices from over the centuries: the earliest published black writer in the English-speaking world; contemporary dancehall artists; Marcus Garvey; and anonymous migrant workers. It illuminates the complexities of Jamaica's past, addressing topics such as resistance to slavery, the modern tourist industry, the realities of urban life, and the struggle to find a national identity following independence in 1962. Throughout, it sketches how its residents and visitors have experienced and shaped its place in the world. Providing an unparalleled look at Jamaica's history, culture, and politics, this volume is an ideal companion for anyone interested in learning about this magnetic and dynamic nation.
This volume examines the role of gestures in past societies, exploring both how meaning was communicated through bodily actions, and also how archaeologists can trace the symbolism and significance of ancient gestures, ritual practices and bodily techniques through the material remnants of past human groups. Gesture studies is an area of increasing interest within the social sciences, and the individual chapters not only respond to developments in the field, but push it forward by bringing a wide range of perspectives and approaches into dialogue with one another. Each exhibits a critical and reflexive approach to bodily communication and to re-tracing bodies through the archaeological record (in art, the treatment of the body and material culture), and together they demonstrate the diversity of pioneering global research on gestures in archaeology and related disciplines, with contributions from leading researchers in Aegean, Mediterranean, Mesoamerican, Japanese and Near Eastern archaeology. By bringing case studies from each of these different cultures and regions together and drawing on interdisciplinary insights from anthropology, sociology, psychology, linguistics, design, art history and the performing arts, this volume reveals the similarities and differences in gestures as expressed in cultures around the world, and offers new and valuable perspectives on the nature of bodily communication across both space and time.
Duncan Ferguson. David Moyes. Paul McCartney. A father and a son. A passion for Everton. A passion for The Beatles. Blues & Beatles is the story of football and music across the generations. The story of how a young boy inherited those fascinations from his father - and would one day pass them on to his own son. And it's the story of how he met his heroes along the way. From legendary footballers to a 20th Century icon: one of the Fab Four. Blues & Beatles is a football story and a music story. But above all else, it's a story shared by father and son.
Classical Memories is an intervention into the field of adaptation studies, taking the example of classical reception to show that adaptation is a process that can be driven by and produce intertextual memories. I see ‘classical memories’ as a memory-driven type of adaptation that draws on and reproduces schematic and otherwise de-contextualised conceptions of antiquity and its cultural ‘exports’ in, broadly speaking, the twentieth and twenty-first centuries. These memory-driven adaptations differ, often in significant ways, from more traditional adaptations that seek to either continue or deconstruct a long-running tradition that can be traced back to antiquity as well as its canonical points of reception in later ages. When investigating such a popular and widespread set of narratives, characters, and images like those that remain of Graeco-Roman antiquity, terms like ‘adaptation’ and ‘reception’ could and should be nuanced further to allow us to understand the complex interactions between modern works and classical antiquity in more detail, particularly when it pertains to postcolonial or post-digital classical reception. In Classical Memories, I propose that understanding certain types of adaptations as intertextual memories allows us to do just that.