After suffering a tragedy, architect Kennedy Harris is overcome with grief and refuses to open her heart to anyone, including God. Youth pastor David Landon lost his wife to cancer and is raising his son alone. Although his heart is open to love, he has not really been looking for possibilities. When he begins to oversee a building project for the church, he meets Kennedy. As the two work together, Kennedy's internal battles become evident. Will she continue to live in isolation, or will she allow this to be a time to heal?
Inspired by classic fairy tales, but with a dark and sinister twist, Grim contains short stories from some of the best voices in young adult literature today: Ellen Hopkins Amanda Hocking Julie Kagawa Claudia Gray Rachel Hawkins Kimberly Derting Myra McEntire Malinda Lo Sarah Rees-Brennan Jackson Pearce Christine Johnson Jeri Smith Ready Shaun David Hutchinson Saundra Mitchell Sonia Gensler Tessa Gratton Jon Skrovron
waves' is a creative collection of short poems that put you through the motions. From the tips of the waves being feminism, self-healing and empowerment to the crashing points of abandonment, loneliness and anxiety. The book is divided into two chapters. Allowing 'waves' to speak for when you are floating and feeling your best to when you are drowning with not a way out. This book is WATER, the second book to Amanda's series, 'the four elements of life'.
Where lies the boundary between meaning and sentiment? Between memory and nostalgia? America and Americana? What is and what was? Does it move?" —Donovon Hohn, A Romance of Rust Part travelogue, part cultural criticism, part music appreciation, It Still Moves does for today's avant folk scene what Greil Marcus did for Dylan and The Basement Tapes. Amanda Petrusich outlines the sounds of the new, weird America—honoring the rich tradition of gospel, bluegrass, country, folk, and rock that feeds it, while simultaneously exploring the American character as personified in all of these genres historically. Through interviews, road stories, geographical and sociological interpretations, and detailed music criticism, Petrusich traces the rise of Americana music from its gospel origins through its new and compelling incarnations (as evidenced in bands and artists from Elvis to Iron and Wine, the Carter Family to Animal Collective, Johnny Cash to Will Oldham) and explores how the genre is adapting to the twenty-first century. Ultimately the book is an examination of all things American: guitars, cars, kids, motion, passion, enterprise, and change, in a fervent attempt to reconcile the American past with the American present, using only dusty records and highway maps as guides.
An argument for the centrality of the visual culture of waste—as seen in works by international contemporary artists—to the study of our ecological condition. Ecological crisis has driven contemporary artists to engage with waste in its most non-biodegradable forms: plastics, e-waste, toxic waste, garbage hermetically sealed in landfills. In this provocative and original book, Amanda Boetzkes links the increasing visualization of waste in contemporary art to the rise of the global oil economy and the emergence of ecological thinking. Often, when art is analyzed in relation to the political, scientific, or ecological climate, it is considered merely illustrative. Boetzkes argues that art is constitutive of an ecological consciousness, not simply an extension of it. The visual culture of waste is central to the study of the ecological condition. Boetzkes examines a series of works by an international roster of celebrated artists, including Thomas Hirschhorn, Francis Alÿs, Song Dong, Tara Donovan, Agnès Varda, Gabriel Orozco, and Mel Chin, among others, mapping waste art from its modernist origins to the development of a new waste imaginary generated by contemporary artists. Boetzkes argues that these artists do not offer a predictable or facile critique of consumer culture. Bearing this in mind, she explores the ambivalent relationship between waste (both aestheticized and reviled) and a global economic regime that curbs energy expenditure while promoting profitable forms of resource consumption.
DIVDIVTwo enemies during the War of the Roses must marry by decree of the conquering king/divDIV Proud and beautiful Lady Alys Wolveston is left without a protector at the end of a decisive battle in the bloody War of the Roses. She refuses to accept Henry Tudor as the legitimate king; her loyalty is to the late Richard III and his Queen Anne, her beloved foster mother. But the Welsh knight Sir Nicholas Merion prevents Alys from returning home and carries her off to London to become the King’s ward . . . and, eventually, Sir Nicholas’s wife. She refuses to submit to the arrogant Welsh warrior, plotting with his enemies and fiercely denying her attraction to him. But as she comes to know the battle-hardened man’s humor and generosity, and experiences his thrilling touch and the comfort of his strength, she can’t help but lose her heart to him. Now Alys will find herself trapped in deadly political intrigues that demand that she choose between love and loyalty to a once-great king./div/div
Americans have long acknowledged a deep connection between evangelical religion and democracy in the early days of the republic. This is a widely accepted narrative that is maintained as a matter of fact and tradition—and in spite of evangelicalism’s more authoritarian and reactionary aspects. In Conceived in Doubt, Amanda Porterfield challenges this standard interpretation of evangelicalism’s relation to democracy and describes the intertwined relationship between religion and partisan politics that emerged in the formative era of the early republic. In the 1790s, religious doubt became common in the young republic as the culture shifted from mere skepticism toward darker expressions of suspicion and fear. But by the end of that decade, Porterfield shows, economic instability, disruption of traditional forms of community, rampant ambition, and greed for land worked to undermine heady optimism about American political and religious independence. Evangelicals managed and manipulated doubt, reaching out to disenfranchised citizens as well as to those seeking political influence, blaming religious skeptics for immorality and social distress, and demanding affirmation of biblical authority as the foundation of the new American national identity. As the fledgling nation took shape, evangelicals organized aggressively, exploiting the fissures of partisan politics by offering a coherent hierarchy in which God was king and governance righteous. By laying out this narrative, Porterfield demolishes the idea that evangelical growth in the early republic was the cheerful product of enthusiasm for democracy, and she creates for us a very different narrative of influence and ideals in the young republic.
NEW YORK TIMES BESTSELLER 10 BEST BOOKS • THE NEW YORK TIMES BOOK REVIEW • 2011 NAMED ONE OF THE BEST BOOKS OF THE YEAR BY The Washington Post • The New Yorker • Chicago Tribune • The Economist • Nancy Pearl, NPR • Bloomberg.com • Library Journal • Publishers Weekly In this brilliant narrative, Amanda Foreman tells the fascinating story of the American Civil War—and the major role played by Britain and its citizens in that epic struggle. Between 1861 and 1865, thousands of British citizens volunteered for service on both sides of the Civil War. From the first cannon blasts on Fort Sumter to Lee’s surrender at Appomattox, they served as officers and infantrymen, sailors and nurses, blockade runners and spies. Through personal letters, diaries, and journals, Foreman introduces characters both humble and grand, while crafting a panoramic yet intimate view of the war on the front lines, in the prison camps, and in the great cities of both the Union and the Confederacy. In the drawing rooms of London and the offices of Washington, on muddy fields and aboard packed ships, Foreman reveals the decisions made, the beliefs held and contested, and the personal triumphs and sacrifices that ultimately led to the reunification of America. “Engrossing . . . a sprawling drama.”—The Washington Post “Eye-opening . . . immensely ambitious and immensely accomplished.”—The New Yorker WINNER OF THE FLETCHER PRATT AWARD FOR CIVIL WAR HISTORY
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