A collection of ten adult short stories. Each different, the only common theme is the strong emphasis on the human emotion, which rules each every story. Two of the stories have been made into full novels. Check them out, you won't regret it.
Julia Ephraime has a tough life. From her earliest memories, she's competed for attention, food, safety, and love. When her father dies suddenly, the only thing that offers comfort is Julia's firm belief that her father loved her unconditionally and is watching over her, even now.
Ten fun-filled stories about curious and endearing kids who have a zest for life and it shows. Each story is short and unique. Later on in the series, each character will be fleshed out and the reader gets to meet each character in his/her own story.
Ten, almost eleven, year old Kacie went on a no dinner strike when her parents refused to prepare her favorite meal, Chicken and Dumplings. She had tried tears, tantrums, being a goody two-shoes, but nothing worked. So now, she has resorted to this dinner strike. After two days on the strike, she would have given up already had it not been for the time she spends on the telephone with her best friend, Holly. Holly gave her encouragement which kept her going. She didn't know what she would have done without Holly. She shared everything with her. They were inseparable, that is until a new boy, Paul, moved into the neighborhood and began attending their school. Now Holly had no time for her, she was more interested in talking with Paul. Unfortunately, Paul was interested in talking with Kacie, what a dilemma. All Kacie wanted was to have chicken and dumplings for dinner and have her best friend back. Why do things have to be so difficult? In this eighth installment in the Too-Clever series, young readers will once again relate to Kacie's growing pains as she copes with everything, from learning to make do, to almost losing her best friend to secret crushes.
A Spark of Hope is meant to do just that, give hope where there was none. Their aim is to encourage us to appreciate and value life, it is a precious gift. To change the things we can and accept the ones we cannot change, always with that Spark of Hope in our sights.
When Susan was little, her one desire was to grow as tall as her brother, Peter, but all she would hear was, "You're too little, Susan. Wait till you're older and have grown some more." But her shadow shows her as being tall enough...big enough. She appears to be growing by leaps and bounds, if her shadow is to be believed.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Eleven year old Cleo loves tomato sandwiches more than anything else in the whole entire world. She loves tomato sandwich so much that she had been trying, ever since she was five, to grow her own tomato garden. Now, finally, at age eleven, Cleo was making one more effort to grow a tomato garden. Will she succeed? And if she does, will it be everything she'd hoped for? Read Cleo's journey, as she sets about fulfilling one of her dreams.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Jeanie loves to play the violin, but because her and her mother live on a limited income she is unable to own a violin of her own. One day Jeanie learns of a writing contest in which the grand prize is $10,000 and tickets to see a very gifted violinist named David Garrett. The contest requires Jeanie to write about her most prized possession. She looks through everything in her room, but is unable to find something she truly treasures. On advice from her friend, she decides to write about the Richard Bunnel G2 violin that she longs to own. Jeanie submits her essay and the waiting begins. Will Jeanie's dream of owning her very own violin come true?
Nothing fascinated eight-year-old Jason as much as the flying eagle. He would sit for hours watching the eagles fly around and around the beachfront of his home on Long Island Sound. Oh, how he wish he was an eagle to soar among the clouds, as he watched them do. This seemed like so much fun to Jason that he was constantly imitating the flying movements of the eagles. His parents constantly had to take him to the doctor from his many injuries from falling. Jason was determined to soar with the eagle. He had a plan he was working on; if only his parents would understand.
Southern humorist Julia Reed celebrates Southern food, Southern women, and the Southern penchant for enjoying good times in this collection of her food writing. Julia Reed spends a lot of time thinking about ham biscuits. And cornbread and casseroles and the surprisingly modern ease of donning a hostess gown for one's own party. In Ham Biscuits, Hostess Gowns and Other Southern Specialties Julia Reed collects her thoughts on good cooking and the lessons of gracious entertaining that pass from one woman to another, and takes the reader on a lively and very personal tour of the culinary -- and social -- South. In essays on everything from pork chops to the perfect picnic Julia Reed revels in the simple good qualities that make the Southern table the best possible place to pull up a chair. She expounds on: the Southerner's relentless penchant for using gelatin why most things taste better with homemade mayonnaise the necessity of a holiday milk punch (and, possibly, a Santa hat) how best to "cook for compliments" (at least one squash casserole and Lee Bailey's barbequed veal are key). She provides recipes for some of the region's best-loved dishes (cheese straws, red velvet cake, breakfast shrimp), along with her own variations on the classics, including Fried Oysters Rockefeller Salad and Creole Crab Soup. She also elaborates on worthwhile information every hostess would do well to learn: the icebreaking qualities of a Ramos gin fizz and a hot crabmeat canapé, for example; the "wow factor" intrinsic in a platter of devilled eggs or a giant silver punchbowl filled with scoops of homemade ice cream. There is guidance on everything from the best possible way to "eat" your luck on New Year's Day to composing a menu in honor of someone you love. Grace and hilarity under gastronomic pressure suffuse these essays, along with remembrances of her gastronomic heroes including Richard Olney, Mary Cantwell, and M.F.K. Fisher. Ham Biscuits, Hostess Gowns and Other Southern Specialties is another great book about the South from Julia Reed, a writer who makes her experiences in—and out of—the kitchen a joy to read.
Desire in Language presents a selection of Julia Kristeva’s essays that trace the path of an investigation, extending over a period of ten years, into the semiotics of literature and the arts. Probing beyond the claims of Sigmund Freud, Jacques Lacan, and others, Kristeva proposes and tests theories centered on the nature and development of the novel, and on what she has defined as a signifying practice in poetic language and pictural works. Desire in Language fully shows what Roman Jakobson has called Kristeva’s “genuine gift of questioning generally adopted ‘axioms,’ and her contrary gift of releasing various ‘damned questions’ from their traditional question marks.”
This book provides the first detailed analysis of the work of four important contemporary directors whose work falls between the reductive labels of 'auteur cinema' and 'popular cinema'. Their work is contextualised within this timely investigation into the shifting relationship between the privileged status of the auteur and questions of genre, gender and cinematic production in France today. This important contribution to understanding the shifting landscapes of contemporary French film identifies an essential intermediacy in the films of these directors, which works to undo a series of dominant oppositions, generic template and contestation, public collectivity and personal intimacy, to offer a new perspective on the location of the political in contemporary French cinema. The four chapters provide detailed critical analysis of films by Dominique Cabrera, Laetitia Masson, Noémie Lvovsky and Marion Vernoux, and present common thread including the possible construction of social intimacy, the political demystification of romance narratives and the role of nostalgia, to argue that their work uses popular genres in order to challenge dominant cultural representation that resonates beyond the immediate parameters of contemporary French cinema. This book will be of interest to researchers working in French and European cinema, to students of Film Studies and French and Francophone Studies, and to film enthusiasts.
Julia Kristeva, herself a product of the famous May '68 Paris student uprising, has long been fascinated by the concept of rebellion and revolution. Psychoanalysts believe that rebellion guarantees our independence and creative capacities, but is revolution still possible? Confronted with the culture of entertainment, can we build and nurture a culture of revolt, in the etymological and Proustian sense of the word: an unveiling, a return, a displacement, a reconstruction of the past, of memory, of meaning? In the first part of the book, Kristeva examines the manner in which three of the most unsettling modern writers--Aragon, Sartre, and Barthes--affirm their personal rebellion. In the second part of the book, Kristeva ponders the future of rebellion. She maintains that the "new world order" is not favorable to revolt. "What can we revolt against if power is vacant and values corrupt?" she asks. Not only is political revolt mired in compromise among parties whose differences are less and less obvious, but an essential component of European culture--a culture of doubt and criticism--is losing its moral and aesthetic impact.
The book examines military paintings in France in the 1850s and 1860s, when the genre experienced a new lease of life. It recreates the paintings’ art-historical, historical and social context, and considers the explosion of military subjects in their own right rather than as a consequence of war reporting. The paintings’ entertainment value effectively communicated political agendas, catering to the emerging phenomenon of mass spectatorship and giving rise to innovative compositions. The book also looks at the other side of the artistic spectrum, proposing that smaller formats adapted the sentimental techniques of military memoirs to focus on the soldiers’ experiences of warfare and to elicit a critique of war.
The book examines the potential for regional competition law systems as enforcement tools in developing countries, based on a case study of the West African Economic and Monetary Union, the Andean Community and the Caribbean Community. It analyses the allocation of enforcement competences between the regional/supranational and the national level and formulates detailed guidelines on the optimal degree of centralization or decentralization. The book addresses all readers that are interested in the enforcement of competition law in developing countries. Moreover, it provides practical insights for public institutions that wish to identify or prevent possible misallocation of competences within regional competition law systems.
The struggles and achievements of forty-six notable women artists of the early modern period, as documented by their contemporaries, are uniquely brought together in this anthology. The life stories presented here are foundational texts for the history of art, but since most are found only in rare volumes and few have been translated into English, until now they have been generally inaccessible to many scholars. Originally published in biographical compendia such as Vasari's Lives of the Artists, the writings included here document not only the lives of relatively well known women artists such as Artemisia Gentileschi and Sofonisba Anguissola, but also those who have languished in obscurity, like Anna Waser and Li Yin. Each life story is preceded by a brief introduction to the artist as well as to her biographer, and the texts themselves are annotated to provide necessary clarification. Beyond their documentary value, these stories provide fascinating insight as to how men commonly characterized women artists as exceptions to their sex, and attempted to explain their presence in the male-dominated realm of art. The introductory chapter to the book explores this intriguing gender dynamic and elucidates some of the strategies and historical context that factored into the composition of these lives. The volume includes an appended index to women artists' life stories in biographical compendia of the period
Der vorliegende Band beschäftigt sich mit dem Surrealismus in Literatur und Kunst in Algerien, Ägypten, Libanon, Syrien und der Türkei zwischen den 1930er und 1980er Jahren. In einer transkulturellen Perspektive erscheint die zu Beginn der 1920er Jahre von Frankreich ausgehende Bewegung gleichermaßen als globales wie als lokales Phänomen, das in den hier behandelten Regionen weniger auf kollektive als auf individualistische Weise, vornehmlich auf dem Gebiet von Poesie und Sprache, rezipiert wurde. Die Studien in diesem Band verfolgen das Ziel, ein klareres Bild von den Resonanzen des Surrealismus in diesen Regionen zu zeichnen und damit einen Beitrag zur Geschichte sowohl der Transmoderne als auch des Surrealismus zu leisten. Methodisch geht es darum, Verbindungen, Begegnungen und Austausch auf individuell-künstlerischer, politisch-institutioneller und soziohistorischer Ebene zu untersuchen. Ein neuer Blick auf den globalen Surrealismus muss diese Netzwerke und Verbindungen auf der Mikroebene berücksichtigen, wenn es um die Fragen geht, wann, wo und was Surrealismus war. Die Antwort könnte zeigen, dass der Surrealismus weitaus weiter verbreitet war als bisher angenommen.
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