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"My house is the red earth; it could be the center of the world." This is Navajo country, a land of mysterious and delicate beauty. "Stephen Strom's photographs lead you to that place," writes Joy Harjo. "The camera eye becomes a space you can move through into the powerful landscapes that he photographs. The horizon may shift and change all around you, but underneath it is the heart with which we move." Harjo's prose poems accompany these images, interpreting each photograph as a story that evokes the spirit of the Earth. Images and words harmonize to evoke the mysteries of what the Navajo call the center of the world.
Seventeen-year-old Phil has felt like an outsider as long as he can remember. All Phil has ever known about his father is that he was Number Three on his mother’s long list—third in a series of affairs that have set Phil’s family even further apart from the critical townspeople across the river. As for his own sexuality, Phil doesn’t care what the neighbors will think; he’s just waiting for the right guy to come along. But Phil can’t remain a bystander forever. Not when he’s surrounded by his mother, Glass, who lives by her own rules and urges Phil to be equally strong; his sister, Dianne, who is abrupt and willful, with secrets to share; his uncle Gable, a restless mariner, defined by his scars; his best friend, Kat, who is generous but possessive. And finally, there is distant Nicholas, with whom Phil falls overwhelmingly in love—until he faces the ultimate betrayal and must finally find his worth . . . and place in the world.
In a riveting, groundbreaking narrative, Russell Shorto tells the story of New Netherland, the Dutch colony which pre-dated the Pilgrims and established ideals of tolerance and individual rights that shaped American history. "Astonishing . . . A book that will permanently alter the way we regard our collective past." --The New York Times When the British wrested New Amsterdam from the Dutch in 1664, the truth about its thriving, polyglot society began to disappear into myths about an island purchased for 24 dollars and a cartoonish peg-legged governor. But the story of the Dutch colony of New Netherland was merely lost, not destroyed: 12,000 pages of its records–recently declared a national treasure–are now being translated. Russell Shorto draws on this remarkable archive in The Island at the Center of the World, which has been hailed by The New York Times as “a book that will permanently alter the way we regard our collective past.” The Dutch colony pre-dated the “original” thirteen colonies, yet it seems strikingly familiar. Its capital was cosmopolitan and multi-ethnic, and its citizens valued free trade, individual rights, and religious freedom. Their champion was a progressive, young lawyer named Adriaen van der Donck, who emerges in these pages as a forgotten American patriot and whose political vision brought him into conflict with Peter Stuyvesant, the autocratic director of the Dutch colony. The struggle between these two strong-willed men laid the foundation for New York City and helped shape American culture. The Island at the Center of the World uncovers a lost world and offers a surprising new perspective on our own.
From the New York Times–bestselling author of Picture This—a stunning revelation sends a mother and her adopted daughter on a journey of self-discovery. How do you keep a secret so huge that it could devastate everyone you care about? For Kate Malloy, the answer is simple: one lie at a time. That’s how she has protected her daughter for more than a dozen years, shielding her from a terrible truth. Sofia, a fifteen-year-old soccer star living in New England, believes she was born in Mexico and legally adopted by Kate. But a posthumous letter from her stepfather tells Sofia a different story—one of civil unrest and bloodshed, death-defying heroism and child-smuggling, harrowing sacrifice and desperate decisions.\ Sofia’s trust in her mother is shattered. At last Kate must do what she knows is right—accompany Sofia back to Guatemala—the place where Kate found horror and heartache but also the greatest joy of her life. As mother and daughter confront the damage done by years of dangerous yet necessary deceptions, they discover how much love, hope, and happiness may still remain—if they have the courage to face their past. Praise for The Center of the World: “Sheehan’s writing is lively and vivid and her feel for historical detail is fine.” —The New York Times “Sheehan uses her skills as both a psychologist and a writer to create a solid, insightful story.” —Kirkus “An emotionally charged tale that explores the mother-daughter bond, set against the backdrop of the Guatemalan Civil War and complete with beautiful prose despite the atrocities. . . . Sheehan places the reader in the middle of war-torn Guatemala and expertly carries her narrative through war and peace, fear and security, and love and redemption.” —Publishers Weekly
This book studies literary regionalism and it shows that one of the ways we imagine the world is through writing and reading about particular places. It explores how writers are shaped by particular places and how their stories shape our understanding of localities and the globe.
This sweeping history reorients our understanding of the Middle East, placing the Gulf at the heart of globalized trade and cross-cultural encounters. World history began in the Persian Gulf. The ancient port cities that dotted its coastlines created the first global seaboard, a place from where faiths and cultures from around the world set sail and made contact. More than a history, The Center of the World shows us that contradictions that define our modern age have always been present. For over four thousand years, the Gulf—sometimes called the Persian Gulf, sometimes the Arabian Gulf—has been a global crossroads while managing to avoid control by the world’s greatest empires. In its history, we see a world of rapid change, fluctuating centers of trade, a dependency on uncertain global markets, and intense cross-cultural encounters that hold a mirror to the contemporary world. Focusing each chapter on a different port around the Gulf, The Center of the World shows how the people of the Gulf adapted to larger changes in world history, creating a system of free trade, merchant rule, and commerce that continues to define the region today.
4e de couv.: Chungking Mansions, a dilapidated seventeen-story commercial and residential structure in the heart of Hong Kong's tourist district, is home to a remarkably motley group of people. Traders, laborers, and asylum seekers from all over Asia and Africa live and work there, and even backpacking tourists rent rooms in what is possibly the most globalized spot on the planet. But as Ghetto at the center of the world shows us, the Mansions is a world away from the gleaming headquarters of multinational corporations -instead it epitomizes the way globalization actually works for most of the world's people. Through candid stories that both instruct and enthrall, Gordon Mathews lays bare the building's residents' intricate connections to the international circulation of goods, money, and ideas.
Chronicle of the author's adventures following the often difficult course of the Yangtze River in China, providing a portrait of the vast country, its history, politics, geography, climate, and culture.
Tending the Fire That Burns at the Center of the World engages the central question of Christian formation, that is, what kind of knowing is most likely to awaken and sustain Christian faith? This book seeks to reclaim aesthetics--beauty and creativity--as the church's most native theological way of knowing and being, which participates with God's own glory and creativity. This book traces the prominence of aesthetics up until the dawn of the Enlightenment, including recent theologians who reclaim aesthetics for theology and formation. The book elaborates the aims and techniques of aesthetic approaches to teaching and learning in the church. Finally, this book cautions against overly determined rationalisms and moralisms that do not retain a sense of wonder, delight, and openness in the church's teaching, liturgy, and proclamation. In this view, the church does not simply regurgitate familiar texts, political tropes, or flattened doctrines but breaks into the world as Christ's body, a parable, a song, a flash mob, interrupting business as usual, giving new expression to acts of care, repentance, forgiveness, joy, and communion, awake to the beauty of God's gifts and inviting our worship.