In I Believe in Miracles, author Deidre Spencer shares the knowledge she gained in her fight against cancer and she provides the tools necessary to discover how to heal. As a cancer survivor, Deidre has beaten the odds, conquering an aggressive form of cancer that had an additional genetic disorder component, making it difficult for the doctors to treat. Through it all, she demonstrates the strength of conviction to follow through on her beliefsand through sheer determination, positive thinking, and with support from family and friends, she pulled herself through those traumatic times. Initially, the doctors saved her from the brink of death when she had only two weeks left to live. She then survived a stem cell transplant, finding she was sensitive to the chemotherapy medicine and other drugs used in treating the side effects. She again came close to dying. When she pulled through the second time, she had to learn to eat and walk again. She realised then that she had to heal all of herselfnot only physically, but also mentally, emotionally and spiritually; what she calls the four bodies. Deidre is now in full remission. I Believe in Miracles is a journey of self-discovery, trauma, and self-healing; Deidre believes that if she can do it, so can others.
Of the many charges laid against contemporary literary scholars, one of the most common--and perhaps the most wounding--is that they simply don't love books. And while the most obvious response is that, no, actually the profession of literary studies does acknowledge and address personal attachments to literature, that answer risks obscuring a more fundamental question: Why should they? That question led Deidre Shauna Lynch into the historical and cultural investigation of Loving Literature. How did it come to be that professional literary scholars are expected not just to study, but to love literature, and to inculcate that love in generations of students? What Lynch discovers is that books, and the attachments we form to them, have long played a role in the formation of private life--that the love of literature, in other words, is neither incidental to, nor inextricable from, the history of literature. Yet at the same time, there is nothing self-evident or ahistorical about our love of literature: our views of books as objects of affection have clear roots in late eighteenth-century and nineteenth-century publishing, reading habits, and domestic history."--Publisher's Web site.
This text aims to be useful to those looking for an approachable, beginner's guide to lifting weights. The book is issued in the illustrated format, where photographs and line illustrations are given as much attention as the easy-to-read text. The guide includes multiple exercises for all the major muscle groups, photographs depicting the beginning, midpoint and ending positions for each exercise and photographs depicting the most common mistakes in executing various exercises, allowing readers to learn from others' mistakes.
Collects three stories of prom night, including "Save the Last Dance," where Peyton, whose parents disapprove of her choice to become a chef, gives up her prom night in order to prepare a meal and prove herself.
Anne Elliot, persuaded by family and friends that the charming and handsome Frederick Wentworth is not worthy of her regard, questions her decision to send him away until he returns seven years later, his circumstances much improved.
In a world on the verge of destruction, alien warrior Marco McKinley and his greatest enemy, soldier Thea Haven, discover that they have met before in an alternate universe and are bound together by betrayal, vengeance, and passion. Original.
At the start of the 18th century, literary "characters" referred as much to letters and typefaces as it did to persons in books. However, this text shows how, by the 19th century, readers used transactions with characters to accommodate themselves to newly-commercialized social relations.
Immortal Spartan slave River Kassandros can transform into any weapon. After a bloody battle he's forever a dagger--until a mortal can release him. Drawn to this blade, Emma Lowery draws blood with it and frees River. But as they fight off intense passions, a sinister power arises to destroy them. Original.
Antousian and Refarian warriors and beings have varying psychic powers, and their identities and motives are often what they appear. On a mission of vengeance, time traveler Scott Dillon finds himself marooned in the past-and risks disrupting the entireu
The story of the development of the novel--its origin, rise, and increasing popularity as a narrative form in an ever-expanding range of geographic and cultural sites--is familiar and, according to the contributors to this volume, severely limited. In a far-reaching blend of comparative literature and transnational cultural studies, this collection shifts the study of the novel away from a consideration of what makes a particular narrative a novel to a consideration of how novels function and what cultural work they perform--from what novels are, to what they do. The essays in Cultural Institutions of the Novel find new ways to analyze how a genre notorious for its aesthetic unruliness has become institutionalized--defined, legitimated, and equipped with a canon. With a particular focus on the status of novels as commodities, their mediation of national cultures, and their role in transnational exchange, these pieces range from the seventeenth century to the present and examine the forms and histories of the novel in England, Nigeria, Japan, France, New Zealand, Canada, and the United States. Works by Jane Austen, Natsume SĂ´seki, Gabriel GarcĂa Márquez, Buchi Emecheta, and Toni Morrison are among those explored as Cultural Institutions of the Novel investigates how theories of "the" novel and disputes about which narratives count as novels shape social struggles and are implicated in contests over cultural identity and authority. Contributors. Susan Z. Andrade, Lauren Berlant, Homer Brown, Michelle Burnham, James A. Fujii, Nancy Glazener, Dane Johnson, Lisa Lowe, Deidre Lynch, Jann Matlock, Dorothea von MĂĽcke, Bridget Orr, Clifford Siskin, Katie Trumpener, William B. Warner
Making of a Poet strikes a chord in all of us who enjoy writingand readinglanguage which lifts our thoughts to dreams and hopes beyond the humdrum reality of life. When Deidre signed into a poetry course in junior high school, she found her perceptions and imaginings awakened to realms that widened her world to new enjoyment. Teachers and experiences in high school and college increased her appreciation of life and the world and friends about her. Recognition came in 1980 when Self-Acceptance appeared in Eddie Lou Coles World Treasury of Great Poems, which also included Time to Dream by her aunt Olive Jean Hope. Deidres verses have also appeared in Our Western Worlds Greatest Poems (1983), Best-Loved Contemporary Poems (1979), The Dawn of Inspiration (1999), and Our Twentieth Centurys Greatest Poems (1982). Deidre continues to share life and inspiration with friends in The Poetry Circle of writers near her home in northern California. Her story can be your story too.
Read Deirdre Knight's posts on the Penguin Blog. A thrilling new series featuring seven immortal Spartan warriors protecting mankind— and confronting passion along the way... Eternity has become a prison for Ajax Petrakos. Centuries after he and his Spartan brothers made their bargain for immortality, Ajax struggles to maintain his warrior's discipline. His only source of strength is his hope that he will soon meet the woman once foretold to him--the other half of his soul, Shay Angel. Ajax searches for his destined mate on the haunted streets of modern-day Savannah, but he isn't the first to find her. Shay, the youngest of a powerful demon-hunting clan, can see the monsters that stalk the steamy Southern nights--an ability that draws the deadly attention of Ajax's worst enemy. As Shay and Ajax race to solve a chilling prophecy--one that could spell Ajax's death if they don't succeed--a fated passion arises, threatening to sweep away everything in its path.
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