He was told he'd never walk again. She was losing hope that she'd ever feel whole again. This is their miraculous true story of defying the impossible. "In my very first impression of Chris, I was blown away by his determination to stay positive, do the work, and trust that God had a bigger story in mind . . . this book is a master class in the power of perseverance." -Tim Tebow Quadriplegics simply do not walk again - yet millions watched as Chris Norton defied incredible odds and took step by impossible step across his graduation stage. With his fiancée Emily by his side, those unbelievable steps became the start of an extraordinary journey for them both. Told from both of their unique perspectives, this moving story invites you to find, as Chris and Emily have, that God can transform our lowest points into life's greatest gifts. In a moment, Chris went from a talented college football player with a promising future to a quadriplegic with a 3 percent chance of ever moving or feeling anything below his neck, much less walking again. Determined to prove the doctors wrong, he pushed himself through grueling, daily workouts to achieve his goal four years later: walking the stage to receive his college diploma with Emily's help, and to the world's astonished applause. Meanwhile, Emily faced her own challenges as she sunk into a deep battle against anxiety and depression, despite her life's outward blessings. Day by day, decision by decision, Chris and Emily committed themselves to taking the extra step, trusting God, and leaning on the help of others. In a story of courageous faith and grit, this extraordinary couple's journey ultimately led them to tackle the seven longest yards - down the wedding aisle and into a new life together. And what a new life it is: Chris and Emily have adopted five beautiful girls and welcomed foster children - seventeen and counting! - into their home and hearts. Let this book be your inspiration for defying your own impossible, and finding joy on the other side.
The text of the novel is based on the first edition of 1847. For the Fourth Edition, the editor collated the 1847 text with the two modern texts (Norton’s William J. Sale collation and the Clarendon), and found a great number of variants, including accidentals. This discovery led to changes in the body of the Norton Critical Edition text that are explained in the preface. New to "Backgrounds and Contexts" are additional letters, a compositional chronology, related prose, and reviews of the 1847 text. "Criticism" collects five important assessments of Wuthering Heights, three of them new to the Fourth Edition, including Lin Haire-Sargeant’s essay on film adaptations of the novel.
When Emily Dockrey learned she had leukemia, her world became one of pills, needles, painful tests and hair loss. But family, friends and God were with her each step of the way. Here she tells her story, hoping it will help other kids deal with serious illness.
What is revenge, and what purpose does it serve? On the early modern English stage, depictions of violence and carnage—the duel between Hamlet and Laertes that leaves nearly everyone dead or the ghastly meal of human remains served at the end of Titus Andronicus—emphasize arresting acts of revenge that upset the social order. Yet the subsequent critical focus on a narrow selection of often bloody "revenge plays" has overshadowed subtler and less spectacular modes of vengeance present in early modern culture. In Civil Vengeance, Emily L. King offers a new way of understanding early modern revenge in relation to civility and community. Rather than relegating vengeance to the social periphery, she uncovers how facets of society—church, law, and education—relied on the dynamic of retribution to augment their power such that revenge emerges as an extension of civility. To revise the lineage of revenge literature in early modern England, King rereads familiar revenge tragedies (including Marston's Antonio's Revenge and Kyd's The Spanish Tragedy) alongside a new archive that includes conduct manuals, legal and political documents, and sermons. Shifting attention from episodic revenge to quotidian forms, Civil Vengeance provides new insights into the manner by which retaliation informs identity formation, interpersonal relationships, and the construction of the social body.
In the seemingly mundane Northern farm of early America and the people who sought to improve its productivity and efficiency, Emily Pawley finds a world rich with innovative practices and marked by a developing interrelationship between scientific knowledge, industrial methods, and capitalism. Agricultural "improvers" became increasingly scientistic, driving tremendous increases in the range and volume of agricultural output-and transforming American conceptions of expertise, success, and exploitation. Pawley's focus on soil, fertilizer, apples, mulberries, agricultural fairs, and experimental stations shows each nominally dull subject to have been an area of intellectual ferment and sharp contestation: mercantile, epistemological, and otherwise"--
Eyewitness research has focused mainly on stranger identification, but identification is also critical for the "familiar stranger", and understanding how variability in an eyewitness's familiarity with the perpetrator may influence recall and recognition accuracy will facilitate swifter and more just resolutions to crime. Familiarity and Conviction in the Criminal Justice System examines the notion of familiarity between an eyewitness/victim and a perpetrator, ranging from complete unfamiliarity (as with a total stranger) to a very familiar other. Authors Joanna Pozzulo, Emily Pica, and Chelsea Sheahan define what is meant by "familiarity" in an eyewitness context and how it has been operationalized and manipulated, exploring factors that may interact with familiarity and examining jurors' perceptions of it. The first half of the book draws on various sub-areas of psychology to understand familiarity against the backdrop of eyewitness identification: social psychology theories of how familiarity is established; cognitive psychology and its theories of recognition; face processing literature; and eyewitness literature. The second half of the book surveys system and estimator variables that influence identification, such as lineup procedures, interviewing techniques, the role of age, race, and more; as well as how familiarity is weighed in juror decision-making. A final chapter issues a call for continuing research examining the notion of familiarity and its impact on the criminal justice system.
Winner of the 2018 John Coates Next Generation Award from the Negro Leagues Research Committee of the Society for American Baseball Research Although many Americans think of Jackie Robinson when considering the story of segregation in baseball, a long history of tragedies and triumphs precede Robinson’s momentous debut with the Brooklyn Dodgers. From the pioneering Cuban Giants (1885-1915) to the Negro Leagues (1920-1960), Black baseball was a long-standing staple of African American communities. While many of its artifacts and statistics are lost, Black baseball figured vibrantly in films, novels, plays, and poems. In Invisible Ball of Dreams: Literary Representations of Baseball behind the Color Line, author Emily Ruth Rutter examines wide-ranging representations of this history by William Brashler, Jerome Charyn, August Wilson, Gloria Naylor, Harmony Holiday, Kevin King, Kadir Nelson, and Denzel Washington, among others. Reading representations across the literary color line, Rutter opens a propitious space for exploring Black cultural pride and residual frustrations with racial hypocrisies on the one hand and the benefits and limitations of white empathy on the other. Exploring these topics is necessary to the project of enriching the archives of segregated baseball in particular and African American cultural history more generally.
From the teeming streets of Dickens's London to the households of domestic fiction, nineteenth-century British writers constructed worlds crammed beyond capacity with human life. In Populating the Novel, Emily Steinlight contends that rather than simply reflecting demographic growth, such pervasive literary crowding contributed to a seismic shift in British political thought. She shows how the nineteenth-century novel in particular claimed a new cultural role as it took on the task of narrating human aggregation at a moment when the Malthusian specter of surplus population suddenly and quite unexpectedly became a central premise of modern politics. In readings of novels by Mary Shelley, Elizabeth Gaskell, Charles Dickens, Mary Braddon, Thomas Hardy, and Joseph Conrad that link fiction and biopolitics, Steinlight brings the crowds that pervade nineteenth-century fiction into the foreground. In so doing, she transforms the subject and political stakes of the Victorian novel, dislodging the longstanding idea that its central category is the individual by demonstrating how fiction is altered by its emerging concern with population. By overpopulating narrative space and imagining the human species perpetually in excess of the existing social order, she shows, fiction made it necessary to radically reimagine life in the aggregate.
The Drama of Complaint: Ethical Provocations in Shakespeare's Tragedy is the first book-length study of complaint in Shakespearean drama. Emily Shortslef makes two main arguments. One is that poetic forms of complaint—expressions of discontent and unhappiness—operate in and across the period's literary and nonliterary discourses as sites of thought about human flourishing, the subject of ethical inquiry. The other is that Shakespearean configurations of these ubiquitous forms in theatrical scenes of complaint model new ways of thinking about ethical subjectivity, or ways of desiring, acting, and living consonant with notions of the good life. The Drama of Complaint develops these interlocking arguments through five chapters that demonstrate the thinking materialized in and through five prolific forms of complaint (existential, judicial, spectral, female, and deathbed). Built around some of the most electrifying scenes in Shakespearean tragedy, each chapter is a case study that identifies and theorizes one of these forms of complaint; delineates a matrix of ethical thought that structures that form; and develops a new reading of a Shakespearean tragedy to which that form of complaint and those ethical questions are integral.
A Primer for Teaching Environmental History is a guide for college and high school teachers who are teaching environmental history for the first time, for experienced teachers who want to reinvigorate their courses, for those who are training future teachers to prepare their own syllabi, and for teachers who want to incorporate environmental history into their world history courses. Emily Wakild and Michelle K. Berry offer design principles for creating syllabi that will help students navigate a wide range of topics, from food, environmental justice, and natural resources to animal-human relations, senses of place, and climate change. In their discussions of learning objectives, assessment, project-based learning, using technology, and syllabus design, Wakild and Berry draw readers into the process of strategically designing courses on environmental history that will challenge students to think critically about one of the most urgent topics of study in the twenty-first century.
Virginia Woolf's career was shaped by her impression of the conflict between poetry and the novel, a conflict she often figured as one between masculine and feminine, old and new, bound and free. In large part for feminist reasons, Woolf promoted the triumph of the novel over poetry, even as she adapted some of poetry's techniques for the novel in order to portray the inner life. Woolf considered poetry the rival form to the novel. A monograph on Woolf's sense of genre rivalry thus offers a thorough reinterpretation of the motivations and aims of her canonical work. Drawing on unpublished archival material and little-known publications, the book combines biography, book history, formal analysis, genetic criticism, source study, and feminist literary history. Woolf's attitude towards poetry is framed within contexts of wide scholarly interest: the decline of the lyric poem, the rise of the novel, the gendered associations with these two genres, elegy in prose and verse, and the history of English Studies. Virginia Woolf and Poetry makes three important contributions. It clarifies a major prompt for Woolf's poetic prose. It exposes the genre rivalry that was creatively generative to many modernist writers. And it details how holding an ideology of a genre can shape literary debates and aesthetics.
This collection brings together 40 years of essays about poetry and literature written by Emily Grosholz. The first section includes essays about some of her favorite poets and thinkers in the United States, England, France and Germany. The second section brings poetry into relation with ethics, politics and practical deliberation, and the third considers it alongside science and imagination. The last section is an homage to The Hudson Review, for whom she has served as an Advisory Editor for many years. As a philosopher, Emily Grosholz has written and thought about feminism, racism, and mathematics and science, which has led her to admire all the more the distinct wisdom of poetry. These essays show how poetry reorganized language and memory, eros and experience, and time and place, and how and why it deepens our understanding of life.
For Mabel Crockett, the town of Logjam is a fine place to grow up. Sure, some folks are constructed of spare parts, and her own family flies around in a converted WW2 bomber. And over at Halfslips' Center for Botanical Research they're always growing something new and surprising. Not until the creepy Verdon Arbogast begins poking around does Mabel begin to suspect that something really peculiar is going on. Then Mabel receives a cryptic message, and discovers that it's up to her to unravel the secrets of Logjam. Secrets which might reveal more than Mabel wants to know...about herself.
In 1866, Alexander Dunlop, a free black living in Williamsburg Virginia, did three unusual things. He had an audience with the President of the United States, testified in front of the Joint Congressional Committee on Reconstruction, and he purchased a tombstone for his wife, Lucy Ann Dunlop. Purchases of this sort were rarities among Virginia’s free black community—and this particular gravestone is made more significant by Dunlop’s choice of words, his political advocacy, and the racialized rhetoric of the period. Carved by a pair of Richmond-based carvers, who like many other Southern monument makers, contributed to celebrating and mythologizing the “Lost Cause” in the wake of the Civil War, Lucy Ann’s tombstone is a powerful statement of Dunlop’s belief in the worth of all men and his hopes for the future. Buried in 1925 by the white members of a church congregation, and again in the 1960s by the Colonial Williamsburg Foundation, the tombstone was excavated in 2003. Analysis, conservation, and long-term interpretation were undertaken by the Foundation in partnership with the community of the First Baptist Church, a historically black church within which Alexander Dunlop was a leader. “Stories in Stone: Memorialization, the Creation of History and the Role of Preservation” examines the story of the tombstone through a blend of object biography and micro-historical approaches and contrasts it with other memory projects, like the remembrance of the Civil War dead. Data from a regional survey of nineteenth-century cemeteries, historical accounts, literary sources, and the visual arts are woven together to explore the agentive relationships between monuments, their commissioners, their creators and their viewers and the ways in which memory is created and contested and how this impacts the history we learn and preserve.
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