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Zenith of Naïveté is written by Daniel Wescott Note: This is a fictionalized account of actual events, not merely based on them. I’ve changed the names to protect everyone. Everything in here happened, just not in the order presented. I’ve condensed about two years into around a week. Plus, I’ve thrown my adult views into the mix. You know, the way all of us keep our memories. For my brother and me, the events depicted in this story were turning points in our lives and relationship with our Mom, each other, and our father. I was in my thirties before I believed my Mom was mentally ill, and I will regret that for the rest of my life. She passed away a few years ago, and our relationship was strained to the point of bare existence after growing up with her. If I’d truly understood, all those complicated feelings would have been softened, and I would have been there for her like she tried to be for us kids, only better. Know what I mean? I wrote the poem at the end of this in my late twenties. I attached it because it delivers a condensed version of the emotions involved in this period. I believe this topic is relevant to society due to the mental illness that is so rampant in the Western world, along with poverty and socio-economic stigmas/world views/beliefs.
With contributions from 30 leading media scholars, this collection provides a comprehensive overview of the main methodologies of critical media studies. Chapters address various methods of textual analysis, as well as reception studies, policy, production studies, and contextual, multi-method approaches, like intertextuality and cultural geography. Film and television are at the heart of the collection, which also addresses emergent technologies and new research tools in such areas as software studies, gaming, and digital humanities. Each chapter includes an intellectual history of a particular method or approach, a discussion of why and how it was used to study a particular medium or media, relevant examples of influential work in the area, and an in-depth review of a case study drawn from the author's own research. Together, the chapters in this collection give media critics a complete toolbox of essential critical media studies methodologies.
A poet’s memoir of taking an unplanned trip to the Bahamas and meeting a fishing guide who changed his life: “A splendid book.”—Jim Harrison in The New York Times Book Review Chris Dombrowski, a poet and passionate fly-fisher, had a second child on the way and an income hovering perilously close to zero when he received a miraculous email: can’t go, it’s all paid for, just book a flight to Miami. Thus began a journey that would eventually lead to the Bahamas and to David Pinder, a legendary bonefishing guide. Bonefish are prized for their elusiveness and their tenacity. And no one was better at hunting them than Pinder, a Bahamian whose accuracy and patience were virtuosic. He knows what the fish think, said one fisherman, before they think it. By the time Dombrowski meets him, though, Pinder has been abandoned by the industry he helped build. With cataracts from a lifetime of staring at the water and a tiny severance package after forty years of service, he watches as the world of his beloved bonefish is degraded by tourists he himself did so much to attract. But as Pinder’s stories unfold, Dombrowski discovers a profound integrity and wisdom in the bonefishing guide’s life. “A poet and Montana-based fly-fishing guide recounts his trip to the Bahamas, where he met an aging guide who taught him about fish and life…loosely links reflections on his experiences catching and releasing bonefish, the history and geography of the Bahamas, the construction of fishing rods, stories he has told his children, and the difference between fishing or hunting for sport and for dinner.”—Kirkus Reviews “Thematically complex, finely wrought, and profoundly life-affirming.”—Publishers Weekly (starred review)
Garréta’s first novel in a decade follows the mania that descends upon a family when the father finds himself in possession of a concrete mixer. As he seeks to modernize every aspect of their lives, disaster strikes when the younger sister is subsumed by concrete. Through puns, wordplay, and dizzying verbal effect, Garréta reinvents the novel form and blurs the line between spoken and written language in an attempt to confront the elasticity of communication.
A startling, shape-shifting book of prose and images that draws on an unexpected pair of inspirations—the poetry of Fernando Pessoa and the history of air disasters—to investigate con men, identity politics, failures of leadership, the privilege of ineptitude, the slave trade, and the nature of consciousness. Early in 2017, on a plane from Cape Verde to Lisbon, author and visual artist James Hannaham started reading Pessoa & Co., Richard Zenith's English translation of Fernando Pessoa's selected poetry. This was two months after Trump's presidential election; like many people, ideas about unfitness for service and failures of leadership were on his mind. Imagine his consternation upon discovering the first line of the first poem in the book: "I've never kept sheep/But it's as if I did." The Portuguese, Hannaham had been musing, were responsible for jump-starting colonialism and the slave trade. Pessoa published one book in Portuguese in his lifetime, Mensagem, which consisted of paeans to European explorers. He also invented about seventy-five alter egos, each with a unique name and style, long before aliases and avatars became a feature of modern culture. Hannaham felt compelled to engage with Pessoa's work. Once in Lisbon, he began a practice of reading a poem from Zenith's anthology and responding in whatever mode seemed to click. Even before his trip, however, he had become fascinated by Air Disasters, a TV show that tells the story of different plane crashes in each of its episodes. These stories—as well as the textures and squares of the city he was visiting—began to resonate with his concerns and Pessoa’s, and make their way into the book. Through its inspirations and juxtapositions and its agile shifts of voice and form—from meme to fiction to aphorism to screenshot to lyric—the book leads us to reckon with the most universal questions. What is the self? What holds the self—multiple, fragmented, performative, increasingly algorithmically controlled, constantly under threat of death—intact and aloft?
A reference book that belongs on every desk--one of the handiest, best-organized, and most reliable thesauruses available, newly updated to reflect the American language of today.
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