Geists memoir is written in the tradition of Saint Augustines book, Confessions. Confessions is considered the first Western autobiography chronicling the saints struggles with sin, lust, and his life in Christian ministry. With brutal honesty, Jim Geist shares stories of struggle with character defects, addiction, and obsessive-compulsive behavior. It is a series of antidotal stories from elementary school, little league sports, family stories, and funny stories from hunting camp, graduate school, ministry, and his job as a high school social studies teacher in New York City. In his fifteen years as an educator, dozens of students encouraged Mr. Geist to write a memoir because they found his stories interesting, humorous, and inspirational. He was voted Teacher of the Year in 2012 by his peers, the same year his assistant principal took him to arbitration to steal his livelihood for him speaking out against the change from teacher-centered teaching to classes becoming times of group work where most of the time was not being spent on the curriculum or preparing for the New York state exams. It is a memoir of his careers, marriage, divorce, heartbreak, relationships, human rights activism against genocide, and modern-day slavery. It is a story of an urban teacher, in the midst of changes in the public education paradigm and a failed political candidate shot with slings and arrows of dirty tricks and false charges. It has stories of arbitration and court battles and recovery from codependency through the twelve-step program, learning how to accept life on lifes terms. You will find yourself laughing on almost every page and identifying with many of the human conundrums we face in life because life is often stranger than fiction.
A rich, vibrant portrait—the most intimate and telling yet of this complex man considered by many to be the actor’s actor. Spencer Tracy’s image on-screen was that of a self-reliant man whose sense of rectitude toward others was matched by his sense of humor toward himself. Whether he was Father Flanagan of Boys Town, Clarence Darrow of Inherit the Wind, or the crippled war veteran in Bad Day at Black Rock, Tracy was forever seen as a pillar of strength. His full name was Spencer Bonaventure Tracy. He was called “The Gray Fox” by Frank Sinatra; other actors called him the “The Pope.” “The best goddamned actor I’ve ever seen!”—George M. Cohan In his several comedy roles opposite Katharine Hepburn (Woman of the Year and Adam’s Rib among them) or in Father of the Bride with Elizabeth Taylor, Tracy was the sort of regular American guy one could depend on. Now James Curtis, acclaimed biographer of Preston Sturges (“Definitive” —Variety), James Whale, and W. C. Fields (“By far the fullest, fairest, and most touching account . . . we have yet had. Or are likely to have” —Richard Schickel, The New York Times Book Review, cover review), gives us the life of one of the most revered screen actors of his generation. Curtis writes of Tracy’s distinguished career, his deep Catholicism, his devoted relationship to his wife, his drinking that got him into so much trouble, and his twenty-six-year-long bond with his partner on-screen and off, Katharine Hepburn. Drawing on Tracy’s personal papers and writing with the full cooperation of Tracy’s daughter, Curtis tells the rich story of the brilliant but haunted man at the heart of the legend. We see him from his boyhood in Milwaukee; given over to Dominican nuns (“They drill that religion in you”); his years struggling in regional shows and stock (Tracy had a photographic memory and an instinct for inhabiting a character from within); acting opposite his future wife, Louise Treadwell; marrying and having two children, their son, John, born deaf. We see Tracy’s success on Broadway, his turning out mostly forgettable programmers with the Fox Film Corporation, and going to Metro-Goldwyn-Mayer and getting the kinds of roles that had eluded him in the past—a streetwise priest opposite Clark Gable in San Francisco; a screwball comedy, Libeled Lady; Kipling’s classic of the sea, Captains Courageous. Three years after arriving at MGM, Tracy became America’s top male star. We see how Tracy embarked on a series of affairs with his costars . . . making Northwest Passage and Dr. Jekyll and Mr. Hyde, which brought Ingrid Bergman into his life. By the time the unhappy shoot was over, Tracy, looking to do a comedy, made Woman of the Year. Its unlikely costar: Katharine Hepburn. We see Hepburn making Tracy her life’s project—protecting and sustaining him in the difficult job of being a top-tier movie star. And we see Tracy’s wife, Louise, devoting herself to studying how deaf children could be taught to communicate orally with the hearing and speaking world. Curtis writes that Tracy was ready to retire when producer-director Stanley Kramer recruited him for Inherit the Wind—a collaboration that led to Judgment at Nuremberg, It’s a Mad Mad Mad Mad World, and Tracy’s final picture, Guess Who’s Coming to Dinner . . . A rich, vibrant portrait—the most intimate and telling yet of this complex man considered by many to be the actor’s actor.
He was the consummate designer of film architecture on a grand scale, influenced by German expressionism and the work of the great European directors. He was known for his visual flair and timeless innovation, a man who meticulously preplanned the color and design of each film through a series of continuity sketches that made clear camera angles, lighting, and the actors’ positions for each scene, translating dramatic conventions of the stage to the new capabilities of film. Here is the long-awaited book on William Cameron Menzies, Hollywood’s first and greatest production designer, a job title David O. Selznick invented for Menzies’ extraordinary, all-encompassing, Academy Award–winning work on Gone With the Wind (which he effectively co-directed). It was Menzies—winner of the first-ever Academy Award for Art Direction, jointly for The Dove (1927) and Tempest (1928), and who was as well a director (fourteen pictures) and a producer (twelve pictures)—who changed the way movies were (and still are) made, in a career that spanned four decades, from the 1920s through the 1950s. His more than 120 films include Rosita (1923), Things to Come (1936), Foreign Correspondent (1940), Kings Row (1942), Mr. Lucky (1943), The Pride of the Yankees (1943), For Whom the Bell Tolls (1943), Address Unknown (1944), It’s a Wonderful Life (1947), Invaders from Mars (1953), and Around the World in 80 Days (1956). Now, James Curtis, acclaimed film historian and biographer, writes of Menzies’ life and work as the most influential designer in the history of film. His artistry encompassed the large, scenic drawings of Douglas Fairbanks’ The Thief of Bagdad (1924), which created a new standard for beauty on the screen and whose exotic fairy-tale sets are still regarded as pure genius. (“I saw The Thief of Bagdad when it first came out,” said Orson Welles—he was, at the time, a nine-year-old boy. “I’ll never forget it.”) Curtis writes of Menzies’ design and supervision of John Barrymore’s Beloved Rogue (1927), a film that remains a masterpiece of craft and synthesis, one of the most distinctive pictures to emerge from Hollywood’s waning days of silent films, and of his extraordinary, opulent appointments for Gone With the Wind (1939). It was Menzies who defined and solidified the role of art director as having overall control of the look of the motion picture, collaborating with producers like David O. Selznick and Samuel Goldwyn; with directors such as D. W. Griffith, Raoul Walsh, Alfred Hitchcock, Lewis Milestone, and Frank Capra. And with actors as varied as Ingrid Bergman, W. C. Fields, Cary Grant, Clark Gable, John Barrymore, Barbara Stanwyck, Ronald Reagan, Gary Cooper, Vivien Leigh, Carole Lombard, Mary Pickford, Gloria Swanson, and David Niven. Interviewing colleagues, actors, directors, friends, and family, and with full access to the William Cameron Menzies family collection of original artwork, correspondence, scrapbooks, and unpublished writing, Curtis brilliantly gives us the path-finding work of the movies’ most daring and dynamic production designer: his evolution as artist, art director, production designer, and director. Here is a portrait of a man in his time that makes clear how the movies were forever transformed by his startling, visionary work. (With 16 pages of color illustrations, and black-and-white photographs throughout.)
The novice gardener will have an accurate, reliable and highly readable reference when a question arises about one of his plants, or if he should wonder if a specific plant would do well in a sunny corner of his yard. The detail of each of the 8 by 11 inch color photographs surprises the eyes.
Dealing with the subject of organizational theory and library administration, this title covers topics such as: managing change in research libraries; the agility of library consortia and its member libraries; the evaluation of reference services; and, developing a recruitment strategy for a diverse workforce. It is suitable for library students.
This book vividly illustrates the ways in which buildings designed by many of Germany's most celebrated twentieth century architects were embedded in widely held beliefs about the power of architecture to influence society. German Architecture for a Mass Audience also demonstrates the way in which these modernist ideas have been challenged and transformed, most recently in the rebuilding of central Berlin.
Evelyn Brent's life and career were going quite well in 1928. She was happily living with writer Dorothy Herzog following her divorce from producer Bernard Fineman, and the tiny brunette had wowed fans and critics in the silent films The Underworld and The Last Command. She'd also been a sensation in Paramount's first dialogue film, Interference. But by the end of that year Brent was headed for a quick, downward spiral ending in bankruptcy and occasional work as an extra. What happened is a complicated story laced with bad luck, poor decisions, and treachery detailed in this first and only full-length biography.
Ethics, the first volume of McClendon’s Systematic Theology, explored the shape of life in the Christian community. Doctrine, the second volume, investigated the teaching necessary to sustain that life. Witness, the third and final volume of the work, considers the wider context in which that life takes place. It asserts that the church’s identity is established not only by how it lives and what it teaches but also by how it enters into conversation and connects with systems of thought and social structures outside itself. McClendon continues here his exploration of “the baptist vision,” a tradition of the church’s understanding of itself, its relation to Scripture, and its place in the larger society, which flows from the Radical Reformation of the 16th century. He employs that vision to engage in conversation with three principal partners: other theologies; current philosophy; and culture, including science and letters, the fine and performing arts, and politics—in short, what Scripture calls “the world.”
The volumes in this series set out to provide a contemporary record of the spread and development of the English language in South, Southeast, and East Asia from both a linguistic and literary perspective. Each volume will reflect themes that cut across national boundaries, including the study of language policies; globalization and linguistic imperialism; English in the media; English in law, government and education; 'hybrid' Englishes; and the bilingual creativity manifested by the vibrant creative writing found in a swathe of Asian societies. This book gives an in-depth analysis of the use of the English language in modern Japan. It explores the many ramifications the Japanese-English language and culture contact situation has for not only Japanese themselves, but also others in the international community. Data for this book has been gathered using anthropological ethnographic fieldwork, augmented by archival sources, written materials, and items from popular culture and the mass media. An interdisciplinary approach, including those of anthropological linguistics, sociolinguistics, cognitive science and symbolic anthropology, is taken in the exploration of the topics here. This book's arguments focus on four major theoretical linguistic and social issues, namely the place of the Japanese-English case in the larger context of 'World Englishes'; the place of the Japanese-English case in a general theory of language and culture contact; how Japanese English informs problems of categorization, meaning construction and cognition; and what it says about the social construction of identity and sense of self, nationalism and race. This book will be of interest to linguists, anthropologists, sociologists, cognitive scientists, and all readers who are interested in language contact, sociolinguistics, English as an international language, and World Englishes. It will also appeal to those who are interested in Japan and popular culture.
Written by an eminent authority from the American Academy of Neurology's Committee on Ethics, Law, and Humanities, this book is an excellent text for all clinicians interested in ethical decision-making. The book features outstanding presentations on dying and palliative care, physician-assisted suicide and voluntary active euthanasia, medical futility, and the relationship between ethics and the law. New chapters in this edition discuss how clinicians resolve ethical dilemmas in practice and explore ethical issues in neuroscience research. Other highlights include updated material on palliative sedation, advance directives, ICU withdrawal of life-sustaining therapy, gene therapy, the very-low-birth-weight premature infant, the developmentally disabled patient, informed consent, organizational ethics, brain death controversies, and fMRI and PET studies relating to persistent vegetative state.
Jim Lowery is among North America's leading tracking experts. In this book he distills his remarkable expertise, gained over decades of intensive research and practical field experience, into a comprehensive field guide to tracking North American mammals. Fully illustrated with hundreds of drawings and high-resolution photographs, The Tracker's Field Guide sets a new standard for tracking books.
Geists memoir is written in the tradition of Saint Augustines book, Confessions. Confessions is considered the first Western autobiography chronicling the saints struggles with sin, lust, and his life in Christian ministry. With brutal honesty, Jim Geist shares stories of struggle with character defects, addiction, and obsessive-compulsive behavior. It is a series of antidotal stories from elementary school, little league sports, family stories, and funny stories from hunting camp, graduate school, ministry, and his job as a high school social studies teacher in New York City. In his fifteen years as an educator, dozens of students encouraged Mr. Geist to write a memoir because they found his stories interesting, humorous, and inspirational. He was voted Teacher of the Year in 2012 by his peers, the same year his assistant principal took him to arbitration to steal his livelihood for him speaking out against the change from teacher-centered teaching to classes becoming times of group work where most of the time was not being spent on the curriculum or preparing for the New York state exams. It is a memoir of his careers, marriage, divorce, heartbreak, relationships, human rights activism against genocide, and modern-day slavery. It is a story of an urban teacher, in the midst of changes in the public education paradigm and a failed political candidate shot with slings and arrows of dirty tricks and false charges. It has stories of arbitration and court battles and recovery from codependency through the twelve-step program, learning how to accept life on lifes terms. You will find yourself laughing on almost every page and identifying with many of the human conundrums we face in life because life is often stranger than fiction.
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