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Nine months after Rachel Wyman opened Montclair Bread Company in 2012, business was stale. She had spent years rising before dawn to perfect the combination of flour, water, yeast and salt, and she had the bread to prove it. But on a good day, only thirty people trickled through her door until one Sunday morning when one of her bakers asked her to make doughnuts. This was risky because her customers often begged for healthy foods. The doughnuts sold out in minutes, the number of customers continued to grow along with the line for doughnuts that stretched to the end of the block. Her business flourished until the global pandemic in 2020. Rachel had no choice but to adapt to keep her business going and even started a virtual bake-a-long to help support and communicate with the community during the lock downs. This book shares the tried-and-true recipes Rachel spent three decades perfecting that are now the backbone of her bakery. The recipes are organized by Childhood Favorites, Breads, Doughnuts, Community Favorites, Recipes from Quarantine. Some of these include: Mombo's Carrot Cake and Cowboy Cookies Sour Dough Bread and Stollen Classic Brioche Doughnuts with Variations, Toppings, and Glazes Pizza and Energy Bars Cheese Crackers and Bagels Rachel brings joy to baking, makes yeast less scary, and helps home bakers make the perfect dough under any conditions. This is a story of how the love of baking brought a community together and held it together during a global pandemic.
This project celebrates everyday Black women through portraiture and supporting text. I use the power and universality of photography to show Black women in a positive, realistic, and honest light. They defy stereotypes, forge unique paths, and are exemplars of courage, tenacity, and resilience. This work promotes our similarities as human beings and dispels the notion that people of color are to be feared. Instead, it offers joy, insight, and inspiration.
First Place, History and Public Policy, 2010 American Journal of Nursing Book of the Year Awards This new interpretation of the history of nursing in the United States captures the many ways women reframed the most traditional of all gender expectations—that of caring for the sick—to create new possibilities for themselves, to renegotiate the terms of some of their life experiences, and to reshape their own sense of worth and power. For much of modern U.S. history, nursing was informal, often uncompensated, and almost wholly the province of female family and community members. This began to change at the end of the nineteenth century when the prospect of formal training opened for women doors that had been previously closed. Nurses became respected professionals, and becoming a formally trained nurse granted women a range of new social choices and opportunities that eventually translated into economic mobility and stability. Patricia D'Antonio looks closely at this history—using a new analytic framework and a rich trove of archival sources—and finds complex, multiple meanings in the individual choices of women who elected a nursing career. New relationships and social and professional options empowered nurses in constructing consequential lives, supporting their families, and participating both in their communities and in the health care system. Narrating the experiences of nurses, D'Antonio captures the possibilities, power, and problems inherent in the different ways women defined their work and lived their lives. Scholars in the history of medicine, nursing, and public policy, those interested in the intersections of identity, work, gender, education, and race, and nurses will find this a provocative book.
It’s no secret that most New Yorker readers flip through the magazine to look at the cartoons before they ever lay eyes on a word of the text. But what isn’t generally known is that over the decades a growing cadre of women artists have contributed to the witty, memorable cartoons that readers look forward to each week. Now Liza Donnelly, herself a renowned cartoonist with the New Yorker for more than twenty years, has written this wonderful, in-depth celebration of women cartoonists who have graced the pages of the famous magazine from the Roaring Twenties to the present day. An anthology of funny, poignant, and entertaining cartoons, biographical sketches, and social history all in one, VeryFunny Ladies offers a unique slant on 20th-century and early 21st-century America through the humorous perspectives of the talented women who have captured in pictures and captions many of the key social issues of their time. As someone who understands firsthand the cartoonist’s art, Donnelly is in a position to offer distinctive insights on the creative process, the relationships between artists and editors, what it means to be a female cartoonist, and the personalities of the other New Yorker women cartoonists, whom she has known over the years. Very Funny Ladies reveals never-before-published material from The New Yorker archives, including correspondence from Harold Ross, Katharine White, and many others. This book is history of the women of the past who drew cartoons and a celebration of the recent explosion of new talent from cartoonists who are women. Donnelly interviewed many of the living female cartoonists and some of their male counterparts: Roz Chast, Liana Finck, Amy Hwang, Victoria Roberts, Sam Gross, Lee Lorenz, Michael Maslin, Frank Modell, Bob Weber, as well as editors and writers such as David Remnick, Roger Angell, Lee Lorenz, Harriet Walden (legendary editor Harold Ross’s secretary). The New Yorker Senior Editor David Remnick and Cartoon Editor Emma Allen contributed an insightful foreword. Combining a wealth of information with an engaging and charming narrative, plus more than seventy cartoons, along with photographs and self-portraits of the cartoonists, Very Funny Ladies beautifully portrays the art and contributions of the brilliant female cartoonists in America’s greatest magazine.
NEW YORK TIMES BESTSELLER • GOOD MORNING AMERICA BUZZ PICK • “A total departure for the author of The Paris Wife, McLain’s emotionally intense and exceptionally well-written thriller entwines its fictional crime with real cases.”—People (Book of the Week) NAMED ONE OF THE BEST BOOKS OF THE YEAR BY MARIE CLAIRE • “The kind of heart-pounding conclusion that thriller fans crave . . . In the end, a book full of darkness lands with a message of hope.”—The New York Times Book Review “This mystery will keep you guessing, and stay with you long after you finish. Dive in.”—Daily Skimm Anna Hart is a seasoned missing persons detective in San Francisco with far too much knowledge of the darkest side of human nature. When tragedy strikes her personal life, Anna, desperate and numb, flees to the Northern California village of Mendocino to grieve. She lived there as a child with her beloved foster parents, and now she believes it might be the only place left for her. Yet the day she arrives, she learns that a local teenage girl has gone missing. The crime feels frighteningly reminiscent of the most crucial time in Anna’s childhood, when the unsolved murder of a young girl touched Mendocino and changed the community forever. As past and present collide, Anna realizes that she has been led to this moment. The most difficult lessons of her life have given her insight into how victims come into contact with violent predators. As Anna becomes obsessed with saving the missing girl, she must accept that true courage means getting out of her own way and learning to let others in. Weaving together actual cases of missing persons, trauma theory, and a hint of the metaphysical, this propulsive and deeply affecting novel tells a story of fate, necessary redemption, and what it takes, when the worst happens, to reclaim our lives—and our faith in one another.
EDGAR AWARD FINALIST • A private investigator revisits the case that has haunted her for decades and sets out on a deeply personal quest to sort truth from lies. CLUE AWARD FINALIST • “[A] haunting memoir, which also unfolds as a gripping true-crime narrative . . . This is a powerful, unsettling story, told with bracing honesty and skill.”—The Washington Post A New York Times Book Review Editors’ Choice • One of Marie Claire’s Ten Best True Crime Books of the Year Ellen McGarrahan was a young journalist for The Miami Herald in 1990 when she witnessed the botched execution of convicted killer Jesse Tafero: flames and smoke and three jolts of the electric chair. When evidence later emerged casting doubt on Tafero’s guilt, McGarrahan found herself haunted by his fiery death. Had she witnessed the execution of an innocent man? Decades later, McGarrahan, now a successful private investigator, is still gripped by the mystery and infamy of the Tafero case, and decides she must investigate it herself. Her quest will take her around the world and deep into the harrowing heart of obsession, and as questions of guilt and innocence become more complex, McGarrahan discovers she is not alone in her need for closure. For whenever a human life is taken by violence, the reckoning is long and difficult for all. A rare and vivid account of a private investigator’s real life and a classic true-crime tale, Two Truths and a Lie is ultimately a profound meditation on truth, grief, complicity, and justice.
FINALIST FOR THE J. ANTHONY LUKAS BOOK PRIZE NATIONAL BESTSELLER Named One of The Best Books of 2020 by NPR's Fresh Air * Publishers Weekly * Marie Claire * Redbook * Vogue * Kirkus Reviews * Book Riot * Bustle A Recommended Book by The New York Times * The Washington Post * Publisher's Weekly * Kirkus Reviews* Booklist * The Boston Globe * Goodreads * Buzzfeed * Town & Country * Refinery29 * BookRiot * CrimeReads * Glamour * Popsugar * PureWow * Shondaland Dive into a "tour de force of investigative reporting" (Ron Chernow): a "searching, atmospheric and ultimately entrancing" (Patrick Radden Keefe) true crime narrative of an unsolved 1969 murder at Harvard and an "exhilarating and seductive" (Ariel Levy) narrative of obsession and love for a girl who dreamt of rising among men. You have to remember, he reminded me, that Harvard is older than the U.S. government. You have to remember because Harvard doesn't let you forget. 1969: the height of counterculture and the year universities would seek to curb the unruly spectacle of student protest; the winter that Harvard University would begin the tumultuous process of merging with Radcliffe, its all-female sister school; and the year that Jane Britton, an ambitious twenty-three-year-old graduate student in Harvard's Anthropology Department and daughter of Radcliffe Vice President J. Boyd Britton, would be found bludgeoned to death in her Cambridge, Massachusetts apartment. Forty years later, Becky Cooper a curious undergrad, will hear the first whispers of the story. In the first telling the body was nameless. The story was this: a Harvard student had had an affair with her professor, and the professor had murdered her in the Peabody Museum of Archaeology and Ethnology because she'd threatened to talk about the affair. Though the rumor proves false, the story that unfolds, one that Cooper will follow for ten years, is even more complex: a tale of gender inequality in academia, a 'cowboy culture' among empowered male elites, the silencing effect of institutions, and our compulsion to rewrite the stories of female victims. We Keep the Dead Close is a memoir of mirrors, misogyny, and murder. It is at once a rumination on the violence and oppression that rules our revered institutions, a ghost story reflecting one young woman's past onto another's present, and a love story for a girl who was lost to history.
In 2009, Rachael Cerrotti, a college student pursuing a career in photojournalism, asked her grandmother, Hana, if she could record her story. Rachael knew that her grandmother was a Holocaust survivor and the only one in her family alive at the end of the war. Rachael also knew that she survived because of the kindness of strangers. It wasn’t a secret. Hana spoke about her history publicly and regularly. But, Rachael wanted to document it as only a granddaughter could. So, that’s what they did: Hana talked and Rachael wrote. Upon Hana’s passing in 2010, Rachael discovered an incredible archive of her life. There were preserved albums and hundreds of photographs dating back to the 1920s. There were letters waiting to be translated, journals, diaries, deportation and immigration papers as well as creative writings from various stages of Hana’s life. Rachael digitized and organized it all, plucking it from the past and placing it into her present. Then, she began retracing her grandmother’s story, following her through Central Europe, Scandinavia, and across the United States. She tracked down the descendants of those who helped save her grandmother’s life during the war. Rachael went in pursuit of her grandmother’s memory to explore how the retelling of family stories becomes the history itself. We Share the Same Sky weaves together the stories of these two young women—Hana as a refugee who remains one step ahead of the Nazis at every turn, and Rachael, whose insatiable curiosity to touch the past guides her into the lives of countless strangers, bringing her love and tragic loss. Throughout the course of her twenties, Hana’s history becomes a guidebook for Rachael in how to live a life empowered by grief.