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When her lover dies suddenly, all Catherine has left is her work. In an act of compassion her manager at London’s Swinburne Museum gives her a very particular project: a box of intricate clockwork parts that constitute a nineteenth-century automaton, a beautiful mechanical bird. It’s an object made of equal parts magic, love, madness and science, a delight that contains the seeds of our age’s downfall. Once Catherine discovers the diary of the man who commissioned it, one obsession merges into another.
The Chemistry of the Blood is one of Dr. M. R. De Haan's most widely read books. In it, his scientific background is uniquely combined with his skillful exposition of Scripture to correlate Scripture and science. In addition to the title chapter on The Chemistry of the Blood, Dr. De Haan also discusses such intriguing themes as 'The Chemistry of Tears, ' 'The Chemistry of the Bible, ' 'The Chemistry of Man, ' and other striking truths.
“When you first view Rose-Lynn Fisher’s photographs, you might think you’re looking down at the world from an airplane, at dunes, skyscrapers or shorelines. In fact, you’re looking at her tears. . . . [There’s] poetry in the idea that our emotional terrain bears visual resemblance to the physical world; that our tears can look like the vistas we see out an airplane window. Fisher’s images are the only remaining trace of these places, which exist during a moment of intense feeling—and then vanish.” —NPR “[A] delicate, intimate book. . . . In The Topography of Tears photographer Rose-Lynn Fisher shows us a place where language strains to express grief, longing, pride, frustration, joy, the confrontation with something beautiful, the confrontation with an onion.” —Boston Globe Does a tear shed while chopping onions look different from a tear of happiness? In this powerful collection of images, an award-winning photographer trains her optical microscope and camera on her own tears and those of men, women, and children, released in moments of grief, pain, gratitude, and joy, and captured upon glass slides. These duotone photographs reveal the beauty of recurring patterns in nature and present evocative, crystalline imagery for contemplation. Underscored by poetic captions, they translate the mysterious act of crying into an atlas mapping the structure and magnificence of our interior lives. Rose-Lynn Fisher is an artist and author of the International Photography Award-winning studies Bee and The Topography of Tears. Her photographs are exhibited in galleries, festivals, and museums across the world and have been featured by the Dr. Oz Show, NPR, Smithsonian, Harper’s, New Yorker, Time, Wired, Reader’s Digest, Discover, Brain Pickings, and elsewhere. She received her BFA from Otis Art Institute and lives in Los Angeles.
An automaton, a man and a woman who can never meet, two stories of love—all are brought to incandescent life in this hauntingly moving novel from one of the finest writers of our time. London 2010: Catherine Gehrig, conservator at the Swinburne museum, learns of the sudden death of her colleague and lover of thirteen years. As the mistress of a married man, she must struggle to keep the depth of her anguish to herself. The one other person who knows Catherine’s secret—her boss—arranges for her to be given a special project away from prying eyes in the museum’s Annexe. Usually controlled and rational, but now mad with grief, Catherine reluctantly unpacks an extraordinary, eerie automaton that she has been charged with bringing back to life. As she begins to piece together the clockwork puzzle, she also uncovers a series of notebooks written by the mechanical creature’s original owner: a nineteenth-century Englishman, Henry Brandling, who traveled to Germany to commission it as a magical amusement for his consumptive son. But it is Catherine, nearly two hundred years later, who will find comfort and wonder in Henry’s story. And it is the automaton, in its beautiful, uncanny imitation of life, that will link two strangers confronted with the mysteries of creation, the miracle and catastrophe of human invention, and the body’s astonishing chemistry of love and feeling.
An automaton, a secret love story, a man and a woman who can never meet, and the fate of the warming world are all brought to incandescent life in this haunting new novel from one of the most admired writers of our time. When Catherine Gehrig, a museum conservator and clock expert, finds out that her very married lover of thirteen years has dropped dead, she has keep her grief a secret. But with no outlet other than vodka, her sorrow is close to driving the hyper-rational Catherine mad. The only person who knew of their affair--her boss--tries to distract and rescue her by giving her a project that demands all of her attention: the reconstruction of an elaborate nineteenth-century automaton. In the crates containing its bits and pieces, Catherine discovers a series of notebooks written by Henry Brandling, who, in 1854, commissioned the extraordinary, eerie mechanical creature in an attempt to bring joy to his consumptive little son. Henry's is a personal account of his adventures in the wilds of Germany, a diary that brings Catherine unexpected comfort, fellow feeling and wonder. But it is the automaton itself, in its beautiful, uncanny imitation of life, that links Henry's life to Catherine's, as both are confronted with the miracle and catastrophe of human invention, and the body's astonishing chemistry of love and feeling.
Taking in works from writers as diverse as William Shakespeare, William Wordsworth, Charlotte Brontë, John Keats, James Joyce and D.H. Lawrence, this book spans approximately 300 years and unpacks how bodily liquidity, porosity and petrification recur as a pattern and underlie the chequered history of the body and genders in literature. Lennartz examines the precarious relationship between porosity and its opposite – closure, containment and stoniness – and explores literary history as a meandering narrative in which 'female' porosity and 'manly' stoniness clash, showing how different societies and epochs respond to and engage with bodily porosity. This book considers the ways that this relationship is constantly renegotiated and where effusive and 'feminine' genres, such as 'sloppy' letters and streams of consciousness, are pitted against stony and astringent forms of masculinity, like epitaphs, sonnets and the Bildungsroman.
This collection of contemporary examples of chemistry in action highlights the fundamental role of chemical principles in governing everyday experiences. It is presented in a question-and-answer format of topical subjects.