Lori Ann is about a little girl who complains. But a trip to an ice cream shop changes everything. Soon things go from bad to worse as Lori Ann tries to remember what she was complaining about.
Drew and the Magic Paint is a book about a young boy who is faced with choices. Trapped and imprisoned by a crazy magician, Drew must think and make the right choice not only to outwit the magician but also in an attempt to gain his freedomand make it home before he is turned into a monkey.
My Last Breath tells the powerful and inspiring story of a young man's journey to overcome the consequences of a traumatic brain injury. Thanks to his perseverance, courage, and ingenuity--designing a customized device with his brother that enables him to pen his own words--author Josh LaRue shares sometimes difficult, sometimes heartbreaking, but always encouraging recollections of his recovery, rehabilitation, and personal growth. With moving, honest poetry and engaging, lucid prose, a story unfolds that shows how it is possible to overcome the challenges and obstacles of disability--even in the face of seemingly impossible circumstances. As much a tale of the people, places, and services that are available for persons affected by disability, discover how positive support of family, friends, loved ones, and the community can influence the success of those who are enduring pain, frustration, and countless hours of rehabilitative therapy fighting for their new lives and independence. The inspirational story of Josh LaRue is now featured in an Emmy nominated documentary, My Last Breath, by award winning director, Cy Dodson (Triumph Pictures). http: //www.mylastbreathfilm.com/ joshpaullarue.com
This book entitled The Nature of Life is meant to be a sequel to the book A Beautiful Tragedy. The author J.P. LaRue takes the reader on a journey through all the seasons and moods of Mother Nature, with some added life lessons along the way. The Nature of Life describes the exquisite beauty and stark cruelty that is found in all of nature. The poems in this book portray many of the contrast that are found in life and in nature, along with powerful imagery and deep meaning. This book reflects the authors love of the outdoors. The author J.P. LaRue is blind. This book, The Nature of Life along with his other titles, was written entirely by using Morse code. It is a testament to his creativity and to his appreciation of life and nature that inspired this book.
The book Partridge Lake Chronicles is a collection of true short stories by author JP LaRue. The book recounts some of the humorous mishaps of growing up on a lake, everything from thin ice to less than seaworthy paddleboats and many more subjects. You will laugh and cringe as the author retells his life and the adventure called youth.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. Spanning 1890 through the 1950s, all seven volumes of The London Stage series have been revised, corrected, and expanded. In addition, approximately 20 percent of the material—in particular, information about adaptations and translations, plot sources, and comment information—is new. Although each volume contains indexes specific to that decade, The London Stage 1890–1959: Accumulated Indexes combines all of the indexes into one comprehensive resource for more efficient research. For example, those wishing to locate all the references to a particular actor, play, or theatre whose history spanned more than one decade will find all of the entries listed in this set. This set includes four key indexes: general, genre, theatre, and title. The general index consists of numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. With approximately 40,000 people listed, this is the largest single source of theatrical personnel on the London stage during this period. The genre index comprises all entries for production types, including comedies, dramas, farces, and tragedies, as well as ballets, operas, adaptations, foreign works, pantomimes, and translations. The theatre index features every building to stage a production, from the Adelphi to Wyndham’s. The title index cites 14,000 productions, identifying every work produced on stage from Domestic Economy in January 1890 to When in Rome in December 1959. As a supplement to the individual volumes, The London Stage 1890–1959: Accumulated Indexes will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1950–1959: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from the first of January, 1950, through the 31st of December, 1959. The volume chronicles more than 3,100 productions at 52 major central London theatres during this period. For each production the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Look Back in Anger, One Way Pendulum, The Birthday Party, A Taste of Honey, Chicken Soup with Barley, Five Finger Exercise, The Hostage, and Waiting for Godot, as well as numerous musical comedies (British and American), foreign works, operas, ballets, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1950-1959 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
A haunting fascination fuels our interest in the robot, the android, the cyborg, the replicant. Born in science fiction literature, the artificial human has come into its own in films, lurching to life, holding a mirror to humanity's soul. Beginning with a pre-history of the filmic robot, J. P. Telotte traces its development through early sci-fi landmarks such as Metropolis (1926), the alien films of the 1950s (including Forbidden Planet), and recent explorations of the artificial human in Blade Runner, Robocop, and the Terminator films. Replications also considers the tension between the technological wonders that science fiction depicts and the human values it champions. Film-makers employ the latest developments in technology to fashion ever more realistic human doubles, and then use them to explore what it means to be human. Telotte shows us how the sci-fi genre has always addressed changing cultural attitudes toward technology, the body, gender roles, human intelligence, reality, and even film itself.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1930–1939: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from January 1930 through December 1939. The volume chronicles more than 4,250 productions at 61 major central London theatres during this period. For each production the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were The Barretts of Wimpole Street, French without Tears, George and Margaret, The Greeks Had a Word for It, Laburnum Grove, Lady Precious Stream, The Late Christopher Bean, Love on the Dole, Me and My Girl, Private Lives, and 1066 and All That, as well as numerous musical comedies (British and American), foreign works, operas, ballets, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1930-1939 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1940–1949: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from January 1940 through December 1949. The volume chronicles more than 2,400 productions at 53 major central London theatres during this period. For each production the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were The Light of Heart, Mr. Bolfry, Perchance to Dream, Pacific 1860, Bless the Bride, The Lady’s Not for Burning, The Late Edwina Black, Outrageous Fortune, Seagulls over Sorrento, and Buoyant Billions, as well as numerous musical comedies (British and American), foreign works, operas, ballets, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1940-1949 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1920–1929: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from January 1920 through December 1929. The volume chronicles more than 4,000 productions at 51 major central London theatres during this period. For each entry the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Bulldog Drummond, The Emperor Jones, The Enchanted Cottage, Gentlemen Prefer Blondes, Hay Fever, Saint Joan, and Six Characters in Search of an Author, as well as numerous musical comedies (British and American), foreign works, operas, and ballets, revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1920-1929 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
For centuries, London theatre has celebrated a rich and influential history, and in 1976, the first volume of J. P. Wearing’s reference series provided scholars and other researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The London Stage 1900-1909 A Calendar of Productions, Performers, and Personnel, Second Edition provides a chronological calendar of London shows from January 1900 through December 1909. The volume chronicles more than 3,000 productions at 35 selected, major central London theatres during this period. For each entry the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and references to reviews. A comment section includes other interesting information, such as a plot description, the first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Candida, His House in Order, The Only Way, The Playboy of the Western World, Raffles (The Amateur Cracksman), and The Scarlet Pimpernel, as well as numerous musical comedies (British and American), foreign works, operas, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original, well-received calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are indexed fully by title, genre, and theatre. A general index also includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, ticket prices, or other relevant subjects. An authoritative reference providing essential details, this work will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1890–1899: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from the first of January, 1890, through the 31st of December, 1899. The volume chronicles more than 3,000 productions at 31 major central London theatres during this period. For each entry the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Alice in Wonderland, Arms and the Man, Cyrano de Bergerac, An Ideal Husband, The Prisoner of Zenda, and The Second Mrs. Tanqueray, as well as numerous musical comedies (British and American), foreign works, operas, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1890–1899 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of relevant newspapers and periodicals. This second edition of The London Stage 1910–1919: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from January 1910 through December 1919. The volume chronicles more than 3,000 productions at 35 major central London theatres during this period. For each entry the following information is provided: Title Author Theatre Performers Personnel Opening and closing dates Number of performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as a plot description, first-night audience reception, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Chu Chin Chow, The Gaol Gate, Hindle Wakes, Justice, Kismet, Pygmalion, and Rebecca of Sunnybrook Farm, as well as numerous musical comedies (British and American), foreign works, operas, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information on adaptations and translations, plot sources, and comments—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1910–1919 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
First published in 1986 under the editorial direction of Dr. Henry J.M. Barnett, Stroke: Pathophysiology, Diagnosis, and Management continues to provide the dependable, current answers you need to effectively combat the increasing incidence of this disease. Dr. J.P. Mohr, together with new associate editors Philip A. Wolf, James C. Grotta, Michael A. Moskowitz, Marc Mayberg, and Rüdiger von Kummer as well as a multitude of expert contributors from around the world, offer you updated and expanded coverage of mechanisms of action of commonly used drugs, neuronal angiogenesis and stem cells, basic mechanisms of spasm and hemorrhage, prevention of stroke, genetics/predisposing risk factors, and much more, equipping you to understand the latest scientific discoveries and make effective use of the newest approaches to diagnosis and treatment. Gain fresh perspectives and up-to-date insights from the world’s leading authorities on the pathophysiology, diagnosis, and management of stroke. Access the comprehensive, expert clinical guidance you need to recognize the clinical manifestations of stroke, use the latest laboratory and imaging studies to arrive at a diagnosis, and generate an effective medical and surgical treatment plan. Make efficient and accurate diagnoses with the aid of abundant full-color CT images and pathology slides. Stay up to date on hot topics such as mechanisms of action of commonly used drugs, neuronal angiogenesis and stem cells, basic mechanisms of spasm and hemorrhage, prevention of stroke, genetics/predisposing risk factors, and much more.
Lori Ann is about a little girl who complains. But a trip to an ice cream shop changes everything. Soon things go from bad to worse as Lori Ann tries to remember what she was complaining about.
The story Summer weaves a colorful tapestry using imagery and poetry to convey a unique take on Mother Nature. Each page overflows with colorful imagery depicting scenes of plants and flowers transforming to create a landscape where they take on new meanings and come to life, telling a poetic story. This is a book for kids of all ages and adults who are really just kids at heart. Inventing a new and exciting style of his own, the author, J.P. LaRue has created a refreshing break from traditional story telling.
My Last Breath tells the powerful and inspiring story of a young man's journey to overcome the consequences of a traumatic brain injury. Thanks to his perseverance, courage, and ingenuity--designing a customized device with his brother that enables him to pen his own words--author Josh LaRue shares sometimes difficult, sometimes heartbreaking, but always encouraging recollections of his recovery, rehabilitation, and personal growth. With moving, honest poetry and engaging, lucid prose, a story unfolds that shows how it is possible to overcome the challenges and obstacles of disability--even in the face of seemingly impossible circumstances. As much a tale of the people, places, and services that are available for persons affected by disability, discover how positive support of family, friends, loved ones, and the community can influence the success of those who are enduring pain, frustration, and countless hours of rehabilitative therapy fighting for their new lives and independence. The inspirational story of Josh LaRue is now featured in an Emmy nominated documentary, My Last Breath, by award winning director, Cy Dodson (Triumph Pictures). http: //www.mylastbreathfilm.com/ joshpaullarue.com
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
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.