This is the first in our Quest of the Sisters of Blood Series. We have outlines planned out for at least two more books, which will follow the two main characters after this first adventure. N'dea experiences a series of strange events while on summer vacation with friends in Ireland. Her last night there she finds herself chasing shadows in a lily field, and wakes the next morning with no recollection as to the events of the previous night. And when she returns home she finds things are not the same. Upon touching down back home, she is noticed by a very strong and sadistic vampire. She is plagued by disturbing dreams night after night that become all so real, and her life will never be the same again.
This is the first in our Quest of the Sisters of Blood Series. We have outlines planned out for at least two more books, which will follow the two main characters after this first adventure. N'dea experiences a series of strange events while on summer vacation with friends in Ireland. Her last night there she finds herself chasing shadows in a lily field, and wakes the next morning with no recollection as to the events of the previous night. And when she returns home she finds things are not the same. Upon touching down back home, she is noticed by a very strong and sadistic vampire. She is plagued by disturbing dreams night after night that become all so real, and her life will never be the same again.
The 2017 winner of the Robert and Vineta Colby Scholarly Book Prize Providing a comprehensive, interdisciplinary examination of scholarship on nineteenth-century British periodicals, this volume surveys the current state of research and offers researchers an in-depth examination of contemporary methodologies. The impact of digital media and archives on the field informs all discussions of the print archive. Contributors illustrate their arguments with examples and contextualize their topics within broader areas of study, while also reflecting on how the study of periodicals may evolve in the future. The Handbook will serve as a valuable resource for scholars and students of nineteenth-century culture who are interested in issues of cultural formation, transformation, and transmission in a developing industrial and globalizing age, as well as those whose research focuses on the bibliographical and the micro case study. In addition to rendering a comprehensive review and critique of current research on nineteenth-century British periodicals, the Handbook suggests new avenues for research in the twenty-first century. "This volume's 30 chapters deal with practically every aspect of periodical research and with the specific topics and audiences the 19th-century periodical press addressed. It also covers matters such as digitization that did not exist or were in early development a generation ago. In addition to the essays, readers will find 50 illustrations, 54 pages of bibliography, and a chronology of the periodical press. This book gives seemingly endless insights into the ways periodicals and newspapers influenced and reflected 19th-century culture. It not only makes readers aware of problems involved in interpreting the history of the press but also offers suggestions for ways of untangling them and points the direction for future research. It will be a valuable resource for readers with interests in almost any aspect of 19th-century Britain. Summing Up: Highly recommended" - J. D. Vann, University of North Texas in CHOICE
Emily Mann: Rebel Artist of the American Theater is the story of a remarkable American playwright, director, and artistic director. It is the story of a woman who defied the American theater's sexism, a traumatic assault, and illness to create unique documentary plays and to lead the McCarter Theatre Center, for thirty seasons, to a place of national recognition. The book traces and describes Emily Mann's family life; her coming-of-age in Chicago during the exuberant, rebellious, and often violent 1960s; how sexual violence touched her personally; and how she fell in love with theater and began learning her craft at the Loeb Drama Center in Cambridge, Massachusetts, while a student at Radcliffe. Mann's evolution as a professional director and playwright is explored, first at the Guthrie Theater in Minneapolis, where she received an MFA from the University of Minnesota, then on and off Broadway and at regional theaters. Mann's leadership of the McCarter is examined, along with her battles to overcome multiple sclerosis and to conquer—personally and artistically—the memories of the violence she experienced when a teenager. Finally, the book discusses her retirement from the McCarter, while amplifying her ongoing journey as a theater artist of sensitivity and originality. Mann's many awards include the 2015 Margo Jones Award, the 2019 Visionary Leadership Award from Theatre Communications Group, and the 2020 Lilly Award for Lifetime Achievement. In 2019, she was inducted into the Theater Hall of Fame for Lifetime Achievement in the American Theater.
This book establishes the profound significance of MGM's 1940 film The Mortal Storm, the first major Hollywood production to depict the plight of Jews in Germany before the Holocaust. Based on Phyllis Bottome's best seller, also titled The Mortal Storm, the film was made amidst the bitter debate that occurred between 1938 and 1941 over whether the United States should involve itself in another European war or remain an isolationist country, as Charles Lindbergh among others urged. In 1941, the film triggered the first hostile Congressional investigation of Hollywood where the studios were accused of allegedly propagandizing for war. Lindbergh had secretly urged the Hollywood hearings, inspired by his own growing antisemitism, as his unpublished diary reveals. Hollywood studios, in turn, regarded the growing European crisis with ambivalence. They feared being accused in a film like The Mortal Storm of using the movies to represent the fate of Europe's imperiled Jews. Louis B. Mayer, the head of MGM, insisted the word “Jew” be removed from the film and “non-Aryan” be used instead, hoping to confuse American audiences about the film's real intent. Jimmy Stewart, who starred in the film, took it on the road to urge American aid to Britain, while Lindbergh prepared his own campaign to denounce American Jews for luring the country into war. The book reveals how closely Hollywood and politics were entwined on the eve of war. It also reveals how closely the plight of Europe's Jews and American antisemitism were entwined at the same time.
Today many in Hollywood and the media have declared open warfare on the family, education, and Christianity in general. Intellectuals have labeled religion, particularly Christianity, as mere wish fulfillment or a virus of the mind, something to be eradicated at all costs. In Christianity's Dangerous Idea, Jonas Alexis picks up where he left off in his previous books and continues to examine the ideological fallacies that have been fabricated in order to attack Christianity and the people who promote those fallacies. This latest book is a tour de force of rigorous logic and testable evidence for the Christian worldview from history, science, experience, common sense, and final destiny. More importantly, Alexis subjects the rivals of Christianity to the same rigorous testing. Christianity's Dangerous Idea clearly demonstrates the destructive nature of popular atheistic and anti-Christian philosophies, spread throughout Western culture by such famous people as Friedrich Nietzsche, Sigmund Freud, Carl Jung, David Cronenberg, Steven Spielberg, Alan Moore, William S. Burroughs, Philip K. Dick, Bruce Lee, Ayn Rand, Bart D. Ehrman, Richard Dawkins, and many more. In a scholarly yet readable fashion, Alexis shows that what the ancient Greeks often referred to as "the cult of Dionysus" has become mainstream in our modern age.
(Limelight). Written under the auspices of The Lucille Lortel Foundation, this book is the first biography of the grande dame of avant garde theater. Lucille Lortel became a leader of a burgeoning Off Broadway movement during the 1950s and '60s and one of the few women of her generation to be a significant player in New York City theater.
Our way must be: never knowingly support lies! Having understood where the lies beginstep back from that gangrenous edge! Let us not glue back the flaking scale of the Ideology, not gather back its crumbling bones, nor patch together its decomposing garb, and we will be amazed how swiftly and helplessly the lies will fall away, and that which is destined to be naked will be exposed as such to the world. Alexander Solzhenitsyn Enlightenment writer Voltaire was amazed that twelve fishermen, some of them unlettered, from an obscure place in the world called Galilee, challenged an empire through self-denial and patience and eventually established Christianity. He seriously thought that twelve philosophers or intellectuals, himself included, would do the opposite and crush Christianity. Voltaires self-appointed cheerleaders such as Diderot, Helvitius, dHolbach, DAlembert, Lametrie, and Baron Cloots, among others, tried to do just that and wrote volumes of work trying to tear down the basis of Christianity and erect an edifice of their own. Diderot in particular declared, I would sacrifice myself, perhaps, if I could annihilate forever the notion of God. Cloots wrote, We shall see the heavenly royalty condemned by the revolutionary tribunal of victorious Reason. Lametrie produced Man: A Machine, and an entire French encyclopedia was written between 1751 and 1772 by those philosophers because Christianity, to a large degree, had to go. Voltaire would send letters to his disciples and friends saying, crasez linfme. Rousseau, of course, was a disciple of Voltaire and declared that Voltaires work inspired me. The French Revolution failed. Yet like all significant revolutions before and after that period, the French Revolution indirectly had a theological root which was then a categorical and metaphysical rejection of Logos. That theological substratum has jumped from one era to the next and had and still has historical, political, economic, and spiritual ramifications. This book is about the historical and theological struggle of that conflict, which had its inception at the foot of the cross.
This book presents the nuances of dermatology from the African diaspora and the tropics. It not only addresses the dark pigmentation of the patient’s skin and the occurrence of tropical infections, but also the socioeconomic conditions which lead to unique features and the development of skin diseases. Chapters present numerous dermatological cases, with clear/relevant pictures, to serve as illustration of how skin conditions present in African/dark skin. Of these specific conditions, the book includes chapters on eczema, bullous diseases, hair disorders, acne, and papulosquamous disorders. Additionally, chapters address emotionally sensitive and socioeconomic-related issues such as skin bleaching and dermatological manifestations of HIV/AIDS, an infectious condition that disproportionately affects those residing in sub-Saharan Africa. Expertly written text is supplemented by hundreds of high-quality, real patient photos. Written by doctors living and treating patients in the tropical environment of Africa, Atlas of Dermatological Conditions in Populations of African Ancestry is an essential tool in broadening the scope of care for professionals and residents in dermatology alike.
?You want to talk about not knowing yourself? Try to blame it on shape shifting? Are we really the first freaking teenagers to feel that way? Do you think that being a Protector makes you weak to admit it? Why? Why is it so bad to admit it? You are fighting for who you are, but if you buy into the lie that you?re fighting alone then ? then you?re the one hurting yourself ? The silence was as quick as her anger. She had raised her face, holding it tightly shut against any expression until the end, when whatever control over the rise of her voice had shattered. She looked scared. Not of me, but of what she?d said. She stared at me, nearly panting, waiting to see what I would do, if I?d fall into the bed she?d pushed me back against, or if I?d fight back. But it wouldn't be her I?d be fighting. I could shift out. I could disappear. That would have been easiest.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.