Mixed-Media combines poems and short stories expressing the variety of the author's life experiences. They include narrative poems: "Ambience Francaise," and "Shades of Hope;" and "Dialogue in a Dark Alley," a short story. Barr appreciates the continued support and critical analysis of the Sanibel "Island Writers" group.
Author Cassandra Fallows has achieved remarkable success by baring her life on the page. Her two widely popular memoirs continue to sell briskly, acclaimed for their brutal, unexpurgated candor about friends, family, lovers—and herself. But now, after a singularly unsuccessful stab at fiction, Cassandra believes she may have found the story that will enable her triumphant return to nonfiction. When Cassandra was a girl, growing up in a racially diverse middle-class neighborhood in Baltimore, her best friends were all black: elegant, privileged Donna; sharp, shrewd Tisha; wild and worldly Fatima. A fifth girl orbited their world—a shy, quiet, unobtrusive child named Calliope Jenkins—who, years later, would be accused of killing her infant son. Yet the boy's body was never found and Calliope's unrelenting silence on the subject forced a judge to jail her for contempt. For seven years, Calliope refused to speak and the court was finally forced to let her go. Cassandra believes this still unsolved real-life mystery, largely unknown outside Baltimore, could be her next bestseller. But her homecoming and latest journey into the past will not be welcomed by everyone, especially by her former friends, who are unimpressed with Cassandra's success—and are insistent on their own version of their shared history. And by delving too deeply into Calliope's dark secrets, Cassandra may inadvertently unearth a few of her own—forcing her to reexamine the memories she holds most precious, as the stark light of truth illuminates a mother's pain, a father's betrayal . . . and what really transpired on a terrible day that changed not only a family but an entire country.
The Vets Turn Pale. . . George, a male calico, was a genetic anomaly, a manifestation of something that isn't supposed to happen, a creature so rare that even most veterinarians have never seen one. His curious existence sparked Laura Gould's long search through the archives of genetics to unearth the charming and valiant roles played by early cat
Since Europeans first settled along Jacksonvilles riverbanks in the 16th century, the area has been a diverse community that thrives not only on commerce, music, and the arts but also on the advantages of a subtropical climate and waterside lifestyle. The city grew up around a crossing point for cattle in the St. Johns River and first became known as Cowford. The Great Fire of 1901 left 10,000 people homeless but not defeated. The ashes gave birth to a new era with strong architecture and a new resolve. Considered a friendly town for African Americans, Jacksonville was home to Harlem Renaissance artists as well as civil rights leaders. A bit laid back, the city has still managed to be on the cutting edgeit was the home of the Navys Blue Angels as well as Southern rock and one of the countrys first skateboard parks.
In 1948 Andrew Wyeth produced what would become one of the most iconic paintings in American art: a desolate landscape featuring a woman lying in a field, that he called "Christina's World." The woman in the painting, Christina Olson, lived in Cushing, Maine, where Wyeth and his wife kept a summer house. She suffered from polio, and was paralyzed from the waist down; Wyeth was moved to portray her when he saw her one day crawling through the field towards her house. "Christina's World" was to become one of the most well-loved and most scorned works of the twentieth century, igniting heated arguments about parochialism, sentimentality, kitsch and elitism that have continued to dog the art world and Wyeth's own reputation, even after the artist's death in 2009. An essay by MoMA curator Laura Hoptman revisits the genesis of the painting, discussing Wyeth's curious focus, over the course of his career, on a deliberately delimited range of subjects and exploring the mystery that continues to surround the enigmatic painting.
This expert volume in the Diagnostic Pathology series is an excellent point-of-care resource for practitioners at all levels of experience and training. Covering all areas of neoplastic and nonneoplastic diseases of the digestive tract and accessory organs such as the pancreas and liver, it incorporates the most recent clinical, pathological, and molecular knowledge in the field to provide a comprehensive overview of all key issues relevant to today’s practice. Richly illustrated and easy to use, Diagnostic Pathology: Hepatobiliary and Pancreas is a one-stop reference for accurate, complete pathology reports, ideal as a day-to-day reference or as a reliable training resource. Analyzes hundreds of diagnoses, each of which include critical diagnostic information such as definitions, epidemiology, clinical presentation, macro- and microscopic features, differential diagnoses, and pathologic interpretation pearls. Features thorough updates throughout, including novel immunohistochemical markers and other ancillary techniques (such as BAP1, INSM1, Rb, albumin in situ hybridization) that play an increasingly critical role in improving diagnoses Addresses recent advances in molecular pathology—new diagnostic, immunohistochemical, molecular, and genetic techniques used for diagnosis, as well as new details about the genesis and activity of tumors in the liver, pancreas, and biliary systems Includes details from the 2019 WHO Classification of Tumors of the Digestive System regarding important changes to diagnostic techniques, identification of new variants of cancers, and immunohistochemical markers and ancillary techniques that improve diagnosis and treatment options Reflects recent WHO updates and updates from the AJCC’s 8th Edition Cancer Staging Manual such as new terminology, new grading of neuroendocrine tumors and neuroendocrine carcinomas, and characteristic molecular alterations in hepatocellular adenoma, cholangiocarcinoma, and other tumors Uses a templated page layout, bulleted text, and a generous number of high-quality images to help practicing and in-training pathologists reach a confident diagnosis
When World War II ended, Americans celebrated a military victory abroad, but the meaning of peace at home was yet to be defined. From roughly 1943 onward, building a postwar society became the new national project, and every interest group involved in the war effort—from business leaders to working-class renters—held different visions for the war's aftermath. In Postwar, Laura McEnaney plumbs the depths of this period to explore exactly what peace meant to a broad swath of civilians, including apartment dwellers, single women and housewives, newly freed Japanese American internees, African American migrants, and returning veterans. In her fine-grained social history of postwar Chicago, McEnaney puts ordinary working-class people at the center of her investigation. What she finds is a working-class war liberalism—a conviction that the wartime state had taken things from people, and that the postwar era was about reclaiming those things with the state's help. McEnaney examines vernacular understandings of the state, exploring how people perceived and experienced government in their lives. For Chicago's working-class residents, the state was not clearly delineated. The local offices of federal agencies, along with organizations such as the Travelers Aid Society and other neighborhood welfare groups, all became what she calls the state in the neighborhood, an extension of government to serve an urban working class recovering from war. Just as they had made war, the urban working class had to make peace, and their requests for help, large and small, constituted early dialogues about the role of the state during peacetime. Postwar examines peace as its own complex historical process, a passage from conflict to postconflict that contained human struggles and policy dilemmas that would shape later decades as fatefully as had the war.
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