Scientific Metaphysics is an exploration of the nature of reality from the standpoint that Consciousness sources and constitutes every aspect of life. Consciousness constructs. This book inquires into the fundamental nature of reality and of human beings, functioning as a unique entity. This inquiry is essential in identifying whats actually present when you and I show up. The study of Scientific Metaphysics offers the possibility of living with choice and control. Your divinity (reality as Spirit) embraces and constitutes your humanity (existence as a conscious human being) and your daily experience of life.
Betty lives in a WWII post depression period. Her family is very poor and lives as outcasts in their small town. At the age of seven, her mother gives her to her grandmother. She leaves a barely supervised home to enter an extremely strict home. Her father passes away when she is nine. Her grandmother gave her backbone. Her life with her grandmother consists of long hours hard work.
Scientific Metaphysics is an exploration of the nature of reality from the standpoint that Consciousness sources and constitutes every aspect of life. Consciousness constructs. This book inquires into the fundamental nature of reality and of human beings, functioning as a unique entity. This inquiry is essential in identifying what's actually present when you and I show up. The study of Scientific Metaphysics offers the possibility of living with choice and control. Your divinity (reality as Spirit) embraces and constitutes your humanity (existence as a conscious human being) and your daily experience of life.
She was homely, overweight, and over the hill, but there was a time when Marie Dressler outdrew such cinema sex symbols as Garbo, Dietrich, and Harlow. To movie audiences suffering the hardships of the Great Depression, she was Everywoman, and in the early 1930s her charming mixture of pathos and comedy packed movie theaters everywhere. In the early days of the century, Dressler was constantly in the headlines. She took up the cause of the "ponies" in the chorus lines, earning them better pay and benefits. She played in productions organized to raise money for the women's suffrage movement. And during World War I she claimed she sold more liberty bonds than any other individual in the United States. Dressler was an astute observer of public mood and taste. When she was lucky enough to find work in the newly minted Hollywood talkies, she grabbed the brass ring with fierce enthusiasm, even making three films in the year before her death, when she was so sick she had to rest between scenes on a sofa just out of camera range. The two-hundred-pound actress's remarkable stage presence captivated audiences even though her roles were not Hollywood beauties. She played tough, practical characters such as the old wharf rat in Anna Christie (1930), the waterfront innkeeper in Min and Bill (1931) -- for which she won the Academy Award for best actress -- the aging housekeeper in Emma (1932), and the title role in Tugboat Annie (1933). She spoke honestly to her audiences, and troubled people in the comforting darkness of the Depression-era movie theaters embraced her as one of themselves.
Explores the obstacles and issues that adoptees, orphans, and foster children face when they have been separated from a parent or denied the right to know their origins
I was born at the tail end of a unique and delightful era and raised on one of the last showboats to struggle for survival against the devastating crunch of progress.... Our showboat's express purpose was carrying entertainment to hundreds of thousands of river-bottom farmers along our water-bordered frontier." —from the book Betty Bryant was a river rat. The Floating Theater was her home, and the river was her back yard. While other children were learning to walk, she was learning to swim. She knew how to set a trotline, gig a frog, catch a crawdad, and strip the mud vein out of a carp by the time she was four. In this colorful memoir, Betty shares her own piece of Americana, the small, family-owned showboat of the early twentieth century. Billy Bryant's Showboat plied the inland waterways of the Ohio River watershed from before the First World War until 1942, bringing a blend of melodrama and vaudeville, laughter and therapeutic tears, into the lives of isolated people in rural communities along the way. Betty made her first professional appearance at the age of six weeks when she played a baby in "Uncle Tom's Cabin." In her twenty years of touring, she acted, danced, and grew up in the tradition of "family entertainment, by families, for families." Here Comes the Showboat! is told with the ageless wonder of a child who loved the showboat and the eager audiences its uniquely American entertainment touched. It is a treasure trove of humorous anecdotes, touching remembrances, and delightful photographs of Betty, the three generations who ran the family showboat, miners, musselers, shantyboaters, farmers, merchants, and actors whose lives intersected along the Ohio River.
Two families, the Michauds and the Gauvins, along with their Abenaki guides, leave Canada and settle in the English village of Compton, Maine. The Gauvins, eager to become more socially accepted, convert from Catholicism to Protestantism and begin to look down on the Michauds as well as the Abenakis who have been converted to Catholicism by Jesuit priests. When some of the rowdy settlers burn down the Gauvins home, the Gauvins go to live with the Abenakis. (Abenaki means "the people of the first light" or "the people first to see the sun rise.") The parents return to Canada, whereas their son Francois and his young wife, Maria-Claire Gauvin, continue to live with the Indians. Francois, a coureur de bois, becomes involved in a reckless life of drinking and carousing, causing Maria and the Abenakis to lose their respect for him. Agawam, a widow and spiritual leader of the tribe, teaches Maria the healing uses of herbs. He also saves the life of Francois when Francois is ill with pneumonia. Maria takes her young daughter Jennie to visit her relatives in Compton (a fictional name). Just before Maria dies in childbirth, she gives Jennie to her friend Wiyanna. When Jennie becomes a lovely young woman, her English relatives, with whom she spends the winters, want her to stay with them and plan for her to marry the widowed minister, Gideon Hughes, whom Jennie detests. Jennie is in love with Cognawescu, the chief's son, and wants to return to her Indian family. Nevertheless, making her feel unaccepted by her own people and fearing she will end up marrying an Indian, the Gauvins tell Jennie that she needs to accept the offer of the arrogant Gideon Hughes, who insists that she marry him in order for her to become a respectable White woman and that she must no longer visit her "heathen" Abenaki friends. Read the story to find out what happens to Jennie and to learn a lot about the relations between the Abenakis, the French, and the English during the 1700s.
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