Teenage Runaways: Broken Hearts and “Bad Attitudes” uncovers the perspectives of actual teenage runaways to help professionals, parents, and youths understand the widespread social problem of “last resort” behavior. You’ll learn the real reasons teenagers run away, and you’ll hear the anguished voices of the teenage runaways themselves, shattering the myth that only bad kids runaway. Teenage Runaways deflates popular misconceptions that runaways are incorrigible delinquents who want to leave home, that they make impulsive decisions to leave their families, and that they wish to never return. Reporting on a qualitative study of 26 runaways in a shelter in New England, this book reveals that many teenaged runaways leave home in search of safety and freedom from what they consider abusive treatment, whether physical, sexual, or emotional. In Teenage Runaways, you will discover valuable information about who these children are, why they are running away, and what you can do to help. Specifically, you will read about: why teenagers say they run away running away as “last resort behavior” what the experience of running away is like hope and desire for reconciliation with parents and family running away as a dynamic emotional experience for youths which reflects changes in their social bonds with peers, family, and adults in the educational, legal, and medical systems “emotional capital” from a heavily regulated authoritative environment Teenage Runaways provides you with a new understanding of teens in trouble to assist you in providing services to this needy and vulnerable population. First-hand accounts reveal the emotional motivations behind decisions to run away, such as 14 years-old Isabel who gives a painful account of what severe physical and sexual abuse feels like to an adolescent victim. Amy, also 14, tells her story of living with a mother who was extremely strict and betrayed her.
Presenting dialogues between prominent scholars of and from Indonesia and Indonesian women working in professional, activist, religious, and literary domains, the book dissolves essentialist notions of "women" and "Indonesia" that have arisen out of the tensions of empire.
Louise Nevelson, one of the most important American sculptors of the twentieth century, was a beautiful woman who lived so audacious a life that by the time of her death she was a legend both inside and outside the art world. Born Leah Berliawsky in Czarist Russia in 1899, she grew up in Maine, ostracized as a Jew and a foreigner. At twenty she escaped to Manhattan as Mrs. Charles Nevelson, eventually leaving her husband for a life devoted to art. She lived and loved with lusty abandon, often in poverty and obscurity, until she finally achieved fame and fortune at sixty. “This biography of a monstre sacre is a tale of hard-tacks heroism and heedless swipes at those who dared to love her,” said Interview magazine. Nevelson found inspiration in cubism, primitive art, and her own unconscious, creating a rich iconography of images. With black, white, or gold paint and perfect placement, she transformed old pieces of wood picked up on the street into powerful sculptures. In later years she appeared in mink eyelashes and flamboyant costumes, all the while going to her studio every day before dawn to add to the astonishing body of work now in collections of museums around the world. Laurie Lisle interviewed Nevelson before the artist’s death in 1988, as well as her lovers, family members, artist friends, and many others. This biography provides fascinating insights and information discovered in archives and public records, letters and diaries, and the artist’s own prose and poetry. Now in a revised e-book edition, Louise Nevelson: A Passionate Life is the only biography of this important American sculptor. It is “impressive in its thoroughness, which nonetheless results in ‘good reading’ by virtue of its interweaving of personal and professional information, its eclectic introduction of psychological analysis, and a phraseology that appreciates both the pain and the joy surrounding Nevelson’s eccentric behavior,” according to Woman’s Art Journal.
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