The lyric poems of Kathleen M. McCann's BARN SOUR are anything but bitter; their music lingers sweetly and long in the ear. "Kate McCann's poetry speaks brightly, deeply, about nature and our human role in the wide fabric of the world. Her deft handling of language, pace, imagery and all the tricks of poetry is a joy to read "-John J. Ronan "BARN SOUR is all about risk, the pull and counterweight of the familiar to the spirit's need to surge forward. Kathleen McCann understands both sides of the balance, urging 'Let go the fight within and listen...' - to rain, to breath, to shell knocking shell on her intimately observed South Shore - while confronting the past's 'tempered hook.' Often elegiac, sometimes stoic, McCann's poems offer language for a troubled world that is never devoid of hope."-Joyce Peseroff "Memories so bitter: The adult child sitting with the ache of her childhood, with the demented grandmother, and the TV on New Year's Eve. As the ball descends in Times Square the grandmother calls 'get a pan and a spoon' and the lonely pair open the front door 'to the coal sky, banging the spuds pan through the burly cold.' That the reader concludes the only beauty in these scenes to be in the telling. And the telling is so fine, so true."-Barbara de la Cuesta
Frozen custard is more than a dessert in Milwaukee. It's a culture, a lifestyle and a passion. Find the stories behind your favorite flavor at local festivals and homegrown neighborhood stands. From the stand that inspired television's Happy Days to the big three - Gilles, Leon's and Kopp's - take a tour through the history of this guilty pleasure. Learn about its humble origins as an unexpected rival to ice cream and its phenomenal success as a concession at the Chicago World's Fair in 1933 that made the snack famous. Milwaukee authors and editors Kathleen McCann and Robert Tanzilo launch a celebration of custard lore, featuring a stand guide and much more. Dig into what makes Milwaukee the Frozen Custard Capital of the World.
Maximize your skills and understanding with EXPERIMENTS IN GENERAL CHEMISTRY: INQUIRY AND SKILL BUILDING, Third Edition. The manual’s 31 experiments include Skill Building, Guided Inquiry, and Open Inquiry experiments to provide maximum lab experience in the minimum amount of lab time. Each experiment includes prelab questions to help you prepare for the lab ahead of time and post-lab questions that lead you from data analysis to concept development to reinforce the core concepts of the lab. Important Notice: Media content referenced within the product description or the product text may not be available in the ebook version.
With Sail Away The Plenty Kathleen McCann returns to the land of her ancestry, telling the story of the Great Famine, an Gorta Mór, in language as lean and sparse as its rawboned subject. McCann's cryptic style is ideally matched to her theme, the potato blight of 1845-1849, wherein a million died of starvation and another million emigrated: approximately a quarter of the Irish population. A mosaic of poignant vignettes taken from the historical record, a portrait of genocide as stark and strong as a woodcut- "Coffinless, / to horse-drawn carts, / all over Ireland/ the dead go out the door." This significant collection, laconically dramatic, illustrates how, more than a failed potato crop, the famine was a direct consequence of a passive war waged against the Irish people and their culture as British overlords exported locally produced food, "the plenty," that could have saved the people from starvation. To paraphrase Wilfred Owen, McCann's subject is . . . genocide, and the pity of it, the poetry is in the pity. -Faye George These poems gesture through memory to what is forgotten: Lives made less by history but still deserving of language. There are eloquent inventories here in skilled poems of the blight of famine, of emigration. Of suffering that ends only in silence. These are poems the reader will turn to and remember. -Eavan Boland
In an age of human distress and alienation, this book seeks to establish that the major cause is found in the breakdown of relationships between people. Drawing on experience and research done by psychotherapists such as Erik Erikson, Abraham Maslow, John Bowlby, Donald Winnicott, Sue Gerhardt and Sarah Litvinoff, and placing this understanding within a biblical context, the author has achieved a relatively short and readable work. Spending some years in classes for Counsellor Training, the author saw similarities in how people behave within all human groups. She sees comfort as "soothing balm to the afflicted human spirit" and has sought to place this within the context of human relations, with safety, belonging and acceptance underpinning human welfare. From morality to the imperative of containing strong emotions and from jealousy and anger to unity, this book is a striking attempt to embrace the problems we all encounter in today's society.
The desire to engage and confront traumatic subjects was a facet of Irish literature for much of the twentieth century. Yet, just as Irish society has adopted a more direct and open approach to the past, so too have Irish authors evolved in their response to, and literary uses of, trauma. In Trauma and Recovery in the Twenty-First-Century Irish Novel, Costello-Sullivan considers the ways in which the Irish canon not only represents an ongoing awareness of trauma as a literary and cultural force, but also how this representation has shifted since the end of the twentieth and beginning of the twenty-first century. While earlier trauma narratives center predominantly on the role of silence and the individual and/or societal suffering that traumas induce, twenty-first-century Irish narratives increasingly turn from just the recognition of traumatic experiences toward exploring and representing the process of healing and recovery both structurally and narratively. Through a series of keenly observed close readings, Costello-Sullivan explores the work of Colm Tóibín, John Banville, Anne Enright, Emma Donohue, Colum McCann, and Sebastian Barry. In highlighting the power of narrative to amend and address memory and trauma, Costello-Sullivan argues that these works reflect a movement beyond merely representing trauma toward also representing the possibility of recovery from it.
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