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2015 EDITION WHAT WAS IT REALLY LIKE TO FIGHT AS AN AMERICAN DOUGHBOY? Lost and forgotten for over 90 years, this book is the result of one street-wise and peace-loving but fiercely patriotic American soldier who went well beyond the typical censored letters, pocket diaries, and post-war memoirs to help answer that question for future generations. Through a unique combination of skill, circumstance and strong personal motivation, Private William J. Graham (Company B, 103rd Military Police Battalion, 28th Division/First Army) delivers one of the most compelling, detailed, and true real-time eyewitness accounts of an American soldier's W.W. 1 experience ever recorded and available in print now for the first time. Over four thousand miles from his home, family and work as a Philadelphia mounted policeman, thirty-nine year old William J. Graham found himself fighting as a detached field M.P. in war-devastated northern France as one of over two million men and women who made up the American Expeditionary Forces in the bloody latter half of 1918. Through his keen eyes and artful powers of description, it is not difficult to imagine yourself slogging through the muddy blood-spattered fields of the Western Front as the earth trembles and German shells scream overhead...where hunger, "cooties," and death are constant companions. Private Graham's uncensored journal of over 650 hand-written pages was penned by him not from memory while resting comfortably by a warm fire in a stuffed chair...but incredibly in France while the events he describes actually unfolded around him under raw filthy field conditions. This is the 2015 revision of the book originally published in 2012. This revision contains extra journal entries recently found by Graham's grand-daughter Deborah Share of Philadelphia and over a hundred new photos from the Jarvis Collection. With America's centennial starting in 2017, this book is a great look at America's involvement in the Great War as seen firsthand by a Doughboy. The Journal itself was so well written by this soldier, that it practically reads like a novel. The photographs enhance the story he is telling and combined, they place the reader right there with him. This is not a history book. Rather it is a work that gives readers an authentic and powerfully moving description of the horrific sights and emotions of Americans at war with the German "Hun" in the world's first-ever global conflict. It serves as an accurate and superbly detailed description of what many U.S. fighting men experienced "doing their bit" while struggling to survive yet another day..."Somewhere in France"!
Vols. for 1911-13 contain the Proceedings of the Helminothological Society of Washington, ISSN 0018-0120, 1st-15th meeting.
When Luke O’Neil isn’t angry, he’s asleep. When he’s awake, he gives vent to some of the most heartfelt, political and anger-fueled prose to power its way to the public sphere since Hunter S. Thompson smashed a typewriter’s keys. Welcome to Hell World is an unexpurgated selection of Luke O’Neil’s finest rants, near-poetic rhapsodies, and investigatory journalism. Racism, sexism, immigration, unemployment, Marcus Aurelius, opioid addiction, Iraq: all are processed through the O’Neil grinder. He details failings in his own life and in those he observes around him: and the result is a book that is at once intensely confessional and an energetic, unforgettable condemnation of American mores. Welcome to Hell World is, in the author’s words, a “fever dream nightmare of reporting and personal essays from one of the lowest periods in our country in recent memory.” It is also a burning example of some of the best writing you’re likely to read anywhere.
Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.
Seeing and experiencing the world as it is is freedom and peace in itself, but the spiritual seeker who seeks the answer to life’s biggest mystery, "Who is the experiencer of the I," must aspire, through self-contemplation, to find an articulate, all-embracing answer to the true meaning and significance of the concepts of “freedom” and “peace.” What is their true power. Can freedom and peace be internalized through the intellect, or is true, genuine freedom and peace an experience and a state in itself, a state where true and false do not configure, a state where opposites cannot force their entry, an unshakable point in the emptiness, in the empty space. In the empty inner and outer space, united and undivided, where silence and awareness merge in an ... By embracing silence in an atmosphere of absolute presence, where the limitations of language fade away and the all-pervading power of silence fills the space surrounding the human body, communication will occur without effort. This eternal, ever-present silence is the universal language for all beings that enter this universe. Observing each other in silence is to transcend the world of conclusions, where outwardly, two different entities with their own perceptions of the world, limited by nationality, culture, and religion, merge into one entity that communicates through the timeless language of silence. The most profound discovery we can make on this stage of life is that there is no “I,” that our existence is merely a mental projection playing out in the mind, through the stormy sea of learned concepts and ideas.