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From 18611865, the Great American Civil War raged. It is generally taught as though it were a well-scripted movie with a definitive beginning and end. Images and stories from the horribly littered Gettysburg battlefield to the Appomattox surrender from General Lee to General Grant have all the trappings of a powerfully executed drama, and with the coda of Lincolns assassination, the story could not be more complete. But while the massive engagements on the innumerable fields of battle were relegated to the history books and museums, the hearts and minds that fed the fire that nearly consumed the country have never truly surrendered. In 2008, with the election of a descendant of the slavery system to the highest office in the land, it seemed the perfect moment to finally declare, once and for all, that America had healed itself from that wretched war and was ready to fold the flags for goodat least in a poetic sense. Sadly, it turned instead to be the beginning of a shabby sequel to one of the greatest films ever made. In 2015, weve come to view divided as the new norm in American society: red state and blue state. And while it might make for good television, it has left us with a lousy, dysfunctional society. This novel is drawn from both Civil Wars. If you enjoy a good yarn filled with the incredulous that simultaneously addresses the politics of the present, you hold in your hands a rare treat. So get your flags out, get loud and get proud, and rock this bad boy for all its worth!
Comprehensive manual for understanding and carrying out marine mammal rescue activities for stranded seals, manatees, dolphins, whales, or sea otters.
Juliette Fay—“one of the best authors of women’s fiction” (Library Journal)—transports us back to the Golden Age of Hollywood and the raucous Roaring Twenties, as three friends struggle to earn their places among the stars of the silent screen—perfect for fans of La La Land and Rules of Civility. It’s July 1921, “flickers” are all the rage, and Irene Van Beck has just declared her own independence by jumping off a moving train to escape her fate in a traveling burlesque show. When her friends, fellow dancer Millie Martin and comedian Henry Weiss, leap after her, the trio finds their way to the bright lights of Hollywood with hopes of making it big in the burgeoning silent film industry. At first glance, Hollywood in the 1920s is like no other place on earth—iridescent, scandalous, and utterly exhilarating—and the three friends yearn for a life they could only have dreamed of before. But despite the glamour and seduction of Tinseltown, success doesn’t come easy, and nothing can prepare Irene, Millie, and Henry for the poverty, temptation, and heartbreak that lie ahead. With their ambitions challenged by both the men above them and the prejudice surrounding them, their friendship is the only constant through desperate times, as each struggles to find their true calling in an uncertain world. What begins as a quest for fame and fortune soon becomes a collective search for love, acceptance, and fulfillment as they navigate the backlots and stage sets where the illusions of the silver screen are brought to life. With her “trademark wit and grace” (Randy Susan Meyers, author of The Murderer’s Daughters), Juliette Fay crafts another radiant and fascinating historical novel as thrilling as the bygone era of Hollywood itself.
In this succeeding volume to The Americans at D-Day, McManus does the same for the Battle of Normandy as a whole. Never before has the American involvement in Normandy been examined so thoroughly or exclusively as in The Americans at Normandy. For D-Day was only one part of the battle, and victory came from weeks of sustained effort and sacrifices made by Allied soldiers. Presented here is the American experience during that summer of 1944, from the aftermath of D-Day to the slaughter of the Falaise Gap, from the courageous, famed figures of Bradley, Patton, and "Lightning" Joe Collins to the lesser-known privates who toiled in torturous conditions for their country. Engrossing, lightning-quick, and filled with real human sorrow and elation, The Americans at Normandy honors those Americans who lost their lives in foreign fields and those who survived. Here is their story, finally told with the depth, pathos, and historical perspective it deserves.
Scholarly essays on the achievements of female artists working in and inspired by the American South Looking back at her lengthy career just four years before her death, modernist painter Nell Blaine said, "Art is central to my life. Not being able to make or see art would be a major deprivation." The Virginia native's creative path began early, and, during the course of her life, she overcame significant barriers in her quest to make and even see art, including serious vision problems, polio, and paralysis. And then there was her gender. In 1957 Blaine was hailed by Life magazine as someone to watch, profiled alongside four other emerging painters whom the journalist praised "not as notable women artists but as notable artists who happen to be women." In Central to Their Lives, twenty-six noted art historians offer scholarly insight into the achievements of female artists working in and inspired by the American South. Spanning the decades between the late 1890s and early 1960s, this volume examines the complex challenges these artists faced in a traditionally conservative region during a period in which women's social, cultural, and political roles were being redefined and reinterpreted. The presentation—and its companion exhibition—features artists from all of the Southern states, including Dusti Bongé, Anne Goldthwaite, Anna Hyatt Huntington, Ida Kohlmeyer, Loïs Mailou Jones, Alma Thomas, and Helen Turner. These essays examine how the variables of historical gender norms, educational barriers, race, regionalism, sisterhood, suffrage, and modernism mitigated and motivated these women who were seeking expression on canvas or in clay. Whether working from studio space, in spare rooms at home, or on the world stage, these artists made remarkable contributions to the art world while fostering future generations of artists through instruction, incorporating new aesthetics into the fine arts, and challenging the status quo. Sylvia Yount, the Lawrence A. Fleischman Curator in Charge of the American Wing at the Metropolitan Museum of Art, provides a foreword to the volume. Contributors: Sara C. Arnold Daniel Belasco Lynne Blackman Carolyn J. Brown Erin R. Corrales-Diaz John A. Cuthbert Juilee Decker Nancy M. Doll Jane W. Faquin Elizabeth C. Hamilton Elizabeth S. Hawley Maia Jalenak Karen Towers Klacsmann Sandy McCain Dwight McInvaill Courtney A. McNeil Christopher C. Oliver Julie Pierotti Deborah C. Pollack Robin R. Salmon Mary Louise Soldo Schultz Martha R. Severens Evie Torrono Stephen C. Wicks Kristen Miller Zohn
London’s Urban Landscape is the first major study of a global city to adopt a materialist perspective and stress the significance of place and the built environment to the urban landscape. Edited by Christopher Tilley, the volume is inspired by phenomenological thinking and presents fine-grained ethnographies of the practices of everyday life in London. In doing so, it charts a unique perspective on the city that integrates ethnographies of daily life with an analysis of material culture. The first part of the volume considers the residential sphere of urban life, discussing in detailed case studies ordinary residential streets, housing estates, suburbia and London’s mobile ‘linear village’ of houseboats. The second part analyses the public sphere, including ethnographies of markets, a park, the social rhythms of a taxi rank, and graffiti and street art. London’s Urban Landscape returns us to the everyday lives of people and the manner in which they understand their lives. The deeply sensuous character of the embodied experience of the city is invoked in the thick descriptions of entangled relationships between people and places, and the paths of movement between them. What stories do door bells and house facades tell us about contemporary life in a Victorian terrace? How do antiques acquire value and significance in a market? How does living in a concrete megastructure relate to the lives of the people who dwell there? These and a host of other questions are addressed in this fascinating book that will appeal widely to all readers interested in London or contemporary urban life.
In this book Donald Rapp provides a balanced assessment of global warming, tending neither to the views of alarmists or nay-sayers. Rapp has the ability to move into a highly technical field, assimilate the content, organize the knowledge base and succinctly describe the field, its content, its unresolved issues and achievements. This is precisely what he does in this book in relation to global climate change. As such his approach is refreshingly different.