The Complete Idiot's Guide® to Gluten-Free Cooking makes it easy to prepare delicious gluten-free meals and to make substitutions in your favorite recipes. Featuring more than 200 mouth-watering recipes for every meal of the day—including breads, pizza crust, pasta, dumplings, stuffing, and all kinds of desserts—as well as resources for finding gluten-free off-the-shelf foods, this cookbook is a must-have for anyone on a gluten-free diet and those who need to avoid a host of chronic illnesses due to gluten intolerance.
With superhuman strength, he pulled himself back from the edge of the well, as clumps of dirt fell into the water far below. Eyes wide with fear, his two little sisters came and stood over him. “Maybe this is where Mama and Daddy are going to throw us when they kill us...” So begins the true story of the lives of sisters Joyce West and Jane McDaniel over the span of six decades. Their story is fascinating and compelling. Early abuses and neglects negatively influence their lives, even today. In these pages, the sisters bravely talk about a subject that is too often kept secret. Ultimately, it is their hope that by the telling of their story they may shed light on the subject of abuse and encourage other sufferers to overcome and live prosperous life. “If you listen carefully, you can hear the sound of silence. It is your own heartbeat echoing deep inside your ears. It is the vibration of life that is sometimes felt in the stillness of the night. It is the unspoken assurance that you are not alone in your fear, or in your joy.”
This book by Norman Hinsdale Pitmanwas originally a book of Chinese Stories, last published in 1919: Illustrations areby Li Chu-T'ang. The Golden Beetle, The Great Bell, The Strange Tale of Dr. Dog, How Footbinding Started, The Talking Fish, Bamboo and the Turtle, The Mad Goose and the Tiger Forest, The Nodding Tiger, The Princess Kwan-yin, The Two Jugglers, The Phantom Vessel. In the revised edition Jean Elizabeth Ward has added a chapter of Poems in Alphabetized Order, with Homage being paid to such Poets as Li Qi, Han Yu, Li Bai, Du Fu, Li He, Qiwu Q ian, Wen Tingyun, Li Qingzhao, Po Chu-I, Liu Changqing, Wang Wei, Liu Jixu, Juan Chi, Cen Can, Zhang Ji.
“The ways in which we can redress the past are many and varied,” writes Jean Barman, “and it is up to each of us to act as best we can.” The seventeen essays collected here, originally published between 1996 and 2013, make a valuable contribution toward this laudable goal. With a wide range of source material, from archival and documentary sources to oral histories, Barman pieces together stories of individuals and groups disadvantaged in white settler society because of their gender, race and/or social class. Working to recognize past actors that have been underrepresented in mainstream histories, Barman’s focus is BC on “the cusp of contact.” The essays in this collection include fascinating, though largely forgotten, life stories of the frontier—that space between contact and settlement, where, for a brief moment, anything seemed possible. This volume, featuring over thirty archival photographs and illustrations, makes these important and very readable essays accessible to a broader audience for the first time.
The book demonstrates that, even if during the first period of the Shwa era (1931–1945) the real driving force to war was the Japanese military, Hirohito, as supreme commander, gave full support to the army. On multiple occasions, as an emperor, he sanctioned many government policies. Accordingly, he was responsible for the war and for the atrocities that the Japanese troops committed in Asia during the Pacific War. Japan’s Empire Disaster is a book of information and training; a reference document that should be read as an educational tool on the history of the modernization of Japan and the war launched by Emperor Meiji and Hirohito to build Japan Empire in the Pacific and East Asia. The book shares the view of the author on Hirohito’s responsibility on the events that marked Japan’s entry into the war that began when Japanese troops invaded Manchuria on September 19, 1931, and culminated with Japan’s surprise attack on the U.S. naval base at Pearl Harbor, on December 7, 1941.
During the revolutionary era, in the midst of the struggle for liberty from Great Britain, Americans up and down the Atlantic seaboard confronted the injustice of holding slaves. Lawmakers debated abolition, masters considered freeing their slaves, and slaves emancipated themselves by running away. But by 1800, of states south of New England, only Pennsylvania had extricated itself from slavery, the triumph, historians have argued, of Quaker moralism and the philosophy of natural rights. With exhaustive research of individual acts of freedom, slave escapes, legislative action, and anti-slavery appeals, Nash and Soderlund penetrate beneath such broad generalizations and find a more complicated process at work. Defiant runaway slaves joined Quaker abolitionists like Anthony Benezet and members of the Pennsylvania Abolition Society to end slavery and slave owners shrewdly calculated how to remove themselves from a morally bankrupt institution without suffering financial loss by freeing slaves as indentured servants, laborers, and cottagers.
The "singing family" of which Jean Ritchie writes is that of her parents, Balis and Abigail Ritchie, and their fourteen children, all born and reared in Viper, Kentucky, deep in the Cumberland Mountains. Jean, the youngest of the clan, grew up to be a world renowned folksinger. But she was hardly unique in the family. All the Ritchies sang -- when they worked, when they prayed, when they rejoiced, even when tragedy struck. Singing Family of the Cumberlands is both an appealing account of family life and a treasury of American folklore and folksong. In the deceptively simple but picturesque language of rural Kentucky, Jean Ritchie tells of a way of life now nearly vanished and of a gentle, upright people shielded from the outside world by forbidding mountain ranges, preserving the traditions of their forebears. Foremost among those traditions were the British folksongs brought from England by James Ritchie in 1768. Even in a region noted for its wealth of folksongs, the Ritchies' inheritance was exceptional. Forty-two of the family's beloved songs are woven through Jean Ritchie's narrative, complete with words and often musical scores. Each song evokes a memory for Jean -- hoeing corn, stirring off molasses, telling ghost stories, singing a dying baby to its eternal rest. Songs lightened the burden of poverty for the Ritchies and brought them joy and solace. Illustrated by Maurice Sendak, Singing Family of the Cumberlands will delight readers in all walks of life.
Introducing key ideas of narrative inquiry, this is the first book to explore in depth the theoretical underpinnings of the methodology. The authors open up ways of thinking about people's experiences and their lives, which are situated and shaped by cultural, social, familial, institutional, and linguistic narratives. The authors draw on a range of theorists, creative nonfiction writers, poets, and essayists. The book is arranged into five parts covering a range of topics including: embodiment, memory, knowledge, wonder, imagination, community, responsibility, and place. Each section ends with a methodological discussion of their work involving refugee families with young children from Syria.
Jean-Baptiste Say (1767–1832) was one of the first great economists to have laid down the foundations of economic science. Author of the famous Treatise on Political Economy in 1803, which was revised and re-edited on several occasions, he published numerous other works including a voluminous Complete Course in Practical Political Economy in 1828–9. He also taught political economy successively from 1815 until his death in three Parisian establishments: the Athénée, the Conservatory of Arts and Trades, and the Collège de France. The texts in which Say exposes his approach to political economy have not been available in the English language until now except for the fourth edition of the ‘Preliminary Discourse’ which serves as an introduction to the Treatise. This book presents a translation which renders his works accessible to the English speaking world. For the first time, English readers will be able to become directly immersed in Say’s principal texts, where he develops his conception of political economy. Jean-Baptiste Say and Political Economy proposes a translation of a selection of eleven of Say’s texts. The first three are versions of the ‘Preliminary Discourse’ from the Treatise’s editions of 1803, 1814 and 1826 with the variations of the editions of 1817, 1819 and 1841. The following four texts are the opening discourses pronounced at the Conservatory in 1820 and 1828 and the Collège de France in 1831 and 1832. The eighth text is the ‘General Considerations’ which open the Complete Course in Practical Political Economy of 1828, with the variations of the 1840 re-edition. The final three texts are those Say devotes to ‘the progress of political economy’ in what is akin to a history of economic thought. This volume is of great importance to economic historians and people studying Jean-Baptiste Say, as well as those who are interested in economic theory and philosophy and political economy.
Approximately 300 daily and weekly newspapers flourished in New York before the Civil War. A majority of these newspapers, even those that proclaimed independence of party, were motivated by political conviction and often local conflicts. Their editors and writers jockeyed for government office and influence. Political infighting and their related maneuvers dominated the popular press, and these political and economic agendas led in turn to exploitation of art and art exhibitions. Humbug traces the relationships, class animosities, gender biases, and racial projections that drove the terms of art criticism, from the emergence of the penny press to the Civil War. The inexpensive “penny” papers that appeared in the 1830s relied on advertising to survive. Sensational stories, satire, and breaking news were the key to selling papers on the streets. Coverage of local politicians, markets, crime, and personalities, including artists and art exhibitions, became the penny papers’ lifeblood. These cheap papers, though unquestionably part of the period’s expanding capitalist economy, offered socialists, working-class men, bohemians, and utopianists a forum in which they could propose new models for American art and society and tear down existing ones. Arguing that the politics of the antebellum press affected the meaning of American art in ways that have gone unrecognized, Humbug covers the changing politics and rhetoric of this criticism. Author Wendy Katz demonstrates how the penny press’s drive for a more egalitarian society affected the taste and values that shaped art, and how the politics of their art criticism changed under pressure from nativists, abolitionists, and expansionists. Chapters explore James Gordon Bennett’s New York Herald and its attack on aristocratic monopolies on art; the penny press’s attack on the American Art-Union, an influential corporation whose Board purchased artworks from living artists, exhibited them in a free gallery, and then distributed them in an annual five-dollar lottery; exposés of the fraudulent trade in Old Masters works; and the efforts of socialists, freethinkers, and bohemians to reject the authority of the past.
Tsehkehnache Poetry is based on my experiences in life, the heartaches and negative impact of alcohol in my life. The love of my life, my husband Tony, is the inspiration behind the love poems for he was the one who taught me all about affection and trust. To me, spirituality is the most important aspect in life, and the second most important is family. My husband and children and grandchildren are the happiness of sunshine in my life right now.
Featuring the latest archaeological and historical discoveries, this guide illustrates the people and events that shaped the life of Jesus, from his birth in Bethlehem to his death in Jerusalem.
Game of My Life: Dallas Cowboys takes you inside the most memorable game of 24 players and of head coach Jimmy Johnson that earned each of them a place in the history and lore of "America?s Team." Each chapter provides colorful detail on the player?s favorite game and its significance to the history of one of the world?s most recognized franchises.Learn how these men joined the Cowboys fraternity. Recount with them the mood of the team and of each player leading up to his memorable moment and his thoughts on the game?told in his own words?as well as how his career fared and what he is doing today. Listen to Hall of Fame running back Tony Dorsett describe how he almost missed the game in which he turned in the most prolific performance of his career, and learn how Emmitt Smith, the NFL?s all-time leading rusher, learned to play with pain and how that helped him lead Dallas to a division-clinching win over the New York Giants despite a dislocated shoulder. Hall of Fame quarterback Roger Staubach talks about his frustration with coach Tom Landry shuffling him in and out of the lineup, and Hall of Fame defensive tackle Randy White remembers the transition out of college linebacker. Hall of Fame quarterback Troy Aikman relives his most emotional moment on the football field, and receiver Drew Pearson talks about the infamous Hail Mary. Receiver Tony Hill relives a thrilling 31-30 comeback win over the rival Washington Redskins on Monday Night Football. Safety James Washington talks about his heroic performance in Super Bowl XXVIII, and little-known running back Paul Palmer discusses his role in coach Jimmy Johnson?s first NFL victory. Other story standouts include those of cornerback Deion Sanders, Ring of Honor linebacker Chuck Howley, Super Bowl XXX MVP Larry Brown, Ring of Honor running back Don Perkins, Hall of Fame defensive tackle Bob Lilly, and special teams star Bill Bates among others.
This alphabetical guide to language and mind gives an up-to-date introduction to the key topics of speech comprehension, speech production and child language. Written by a well-known author in the field, the entries are concise and lucid, and provide an easy-to-read overview of an area of linguistics which lies at the core of the human ability to use language.
The editors take a critical look at the now almost mainstream "declinist" thesis and at the continued relevance of Canada's relationships with its principal allies - the United Kingdom, France, and the United States. Contributors discuss a broad range of themes, including the weight of a changing identity in the evolution of the country's foreign policy, the fate of Canadian diplomacy as a profession, the often complicated relationship between foreign and trade policies, the impact of immigration and refugee procedures on foreign policy, and the evolving understanding of development and defence as components of Canada's foreign policy.
In the early 1800s, the U.S. government attempted to rid the Southeast of Indians in order to make way for trading networks, American immigration, optimal land use, economic development opportunities, and, ultimately, territorial expansion westward to the Pacific. The difficult removal of the Chickasaw Nation to Indian Territory—later to become part of the state of !--?xml:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" /--Oklahoma— was exacerbated by the U.S. government’s unenlightened decision to place the Chickasaws on lands it had previously provided solely for the Choctaw Nation. !--?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /-- This volume deals with the challenges the Chickasaw people had from attacking Texans and Plains Indians, the tribe’s ex-slaves, the influence on the tribe of intermarried white men, and the presence of illegal aliens (U.S. citizens) in their territory. By focusing on the tribal and U.S. government policy conflicts, as well as longstanding attempts of the Chickasaw people to remain culturally unique, St. Jean reveals the successes and failures of the Chickasaw in attaining and maintaining sovereignty as a separate and distinct Chickasaw Nation.
As artists, we have choices. There are very few rules that apply across the board. We can create highly realistic paintings, or perhaps more expressive paintings, or paintings that have very little basis in reality, including those that are totally non-representational. We can record color as we see it or as we’d like it to be. As pastel artists, we have even more choices. We can use a wide variety of pastels, strokes, surfaces, and techniques to create many different looks. The choices we make form the framework of our individual style, our signature as artists. Any subscriber to The Pastel Journal realizes how varied the medium of pastel can be. For the experienced artist, these articles are stimulating, offering possible ways to experiment with alternative approaches. For the beginner, the panoply of choices can be overwhelming. Painting is primarily an intuitive process. But intuition is gained through study and experience. Part of my impetus in writing this book has been to create a more structured approach to help those fairly new to the medium understand its many possibilities. The book is aimed at all levels of pastel artists. Beginners will find a wealth of helpful information and intermediate artists will gain insight into how to take their work to another level and develop a style. Many advanced artists teach pastel; the organization of ideas and the exercises included should be of assistance. I offer a variety of suggested approaches and sometimes make up terminology to describe my experiences with the medium. The instructions in the book are based on my preferences and the guidance that I offer my students. The diversity of styles and techniques evident in the paintings of contributing artists should make it clear, however, that there are many ways to successfully work in pastel. Having acknowledged the many possibilities, I want to note a few musts. Representational paintings must be well-drawn. Poor drawing skills cannot be overcome with lovely color or great technique. Likewise, paintings must have strong compositions, regardless of whether they are realistic, abstracted, or non-representational. Values must be properly interpreted to produce strong compositions and to use pastel to its full effect. And finally, pastel paintings must sing! Whether the applications are light and airy, or rich and painterly, it should be clear that the artist is in control of the medium and is using it to produce his or her desired look. For years I have resisted suggestions that I write a book. As a landscape painter, I knew that there were more authoritative books already available. And the growing popularity of pastel has led to so many resources, including online blogs, a biennial convention, and the wonderful Pastel Journal, mentioned above. What could I add to this? My personal training in pastel has been from weeklong landscape workshops with some of the leading pastel painters in the country. As a teacher in a community college, I am not teaching a particular style nor focusing on specific subject matter. Some of my students work with the landscape, but others do portraits or figurative work, while others prefer still life, or work abstractly. In dealing with this mixture, I’ve realized that there are different ways to approach one’s use of color, and this formed my first idea for creating a book. Furthermore, as a teacher, I’ve spent time experimenting with different surfaces, pastel brands, and techniques in order to make suggestions to students to help them find the look they want to achieve. I do not teach students to paint the way I do, but instead, try to share my experience and help them develop their own individual style.
Chinese Memories is a collection of poems by Poet Laureate, Jean Elizabeth Ward. In alphabetical order for an easy read. Each and every poem is either an homage to or one inspired by reading a poem by a Chinese Poet from the High Tang Dynasty. She says, the difference is "My poems are not written in stone, they can be changed as time passes along.
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