I consider myself a free lance writer and artist. I have had over 50 publication on social satire and self–help articles and stories over the past 20 years. I am a “trash artist” AKA a dumpster diver” I belong to several National Writes groups.
Newspaper humor columnist, public speaker, and playwright Monica Lewis' laugh-out-loud observations on motherhood, relationships, balancing work and family, and the quirks of everyday life, hit home on every page. On knowing you're too old to have a baby: "You know you're too old when, to you, a period is just something that goes at the end of a sentence." On the irony of giving your kids a time-out: "Most parents would love the luxury of taking an hour to just sit in our rooms. Hell, I'd even sit in the corner if it meant a moment or two of peace and quiet." On helping your child with math homework: "I'm hopeless at math. For me, Cardinal Numbers are the amount of red birds on the tree outside my bedroom window." On Santa Claus: "If Santa was a man, everyone in the universe would wake up Christmas morning to find a rotating musical Chia Pet under the tree, still in the store bag." On Not Cleaning the Refrigerator: "If food were human, I'd be considered a slumlord.
Monica Appleby and Helen Lewis reveal the largely untold story of women who stood up to the Church and joined Appalachians in their struggle for social justice. Their poignant story of how faith, compassion, and persistence overcame obstacles to progress in Appalachia is a fascinating example of how a collaborative and creative learning community fosters strong voices. Mountain Sisters is a prophetic first-person account of the history of American Catholicism, the war on poverty, and the influence of the turbulent 1960s on the cultural and religious communities of Appalachia. Founded in 1941, The Glenmary Sisters embraced a calling to serve rural Appalachian communities where few Catholics resided. The sisters, many of them seeking alternatives to the choices available to most women during this time, zealously pursued their duties but soon became frustrated with the rules and restrictions of the Church. Outmoded doctrine—even styles of dress—made it difficult for them to interact with the very people they hoped to help. In 1967, after many unsuccessful attempts to persuade the Church to ease its requirements, some seventy Sisters left the security of convent life. Over forty of these women formed a secular service group, FOCIS (Federation of Communities in Service). Mountain Sisters is their story.
Inspired by a photograph of a nun riding a tractor, dozens of young Catholic women left their families in the 1940s and 1950s to join a new religious order known as the Glenmary Sisters. The order offered women the opportunity to act as domestic missionaries, experience adventure, and escape the homefront social pressures of post-World War II America. The sisters actively pursued a call of service to rural Appalachian communities but soon became frustrated with the rules and restrictions of the Roman Catholic Church. Outmoded doctrines -- including styles of dress -- made it exceedingly difficult for them to interact with the very people they hoped to help.
This book is about four different things The first thing is when I started going to school I drank my first cup of coffee before I went to school I even took coffee with me to school and kept it in my locker. The second thing is when my sisters graduate from high school and we all go on a trip together The third thing is I said a lot of funny things when I was a kid. The fourth thing is all my health problems that I listed in the book The fifth thing is my family and what all we did together
This book is based on different experiences Monica Victorian AKA Mo Nichole, the model, has dealt with in life. It is not a full biography, but it does give a look into the life of Monica and the hardships and experiences that she has overcome and been through. It is also an inspirational book that will hopefully help others overcome issues in their lives.
Hence, two recoveries are at work in this project: one which details Anthony Trollope's 20th century resurgence and one that re-examines the literary culture of Britain during the span of two World Wars. By exposing the increasing importance of Anthony Trollope for a particular strain of British novelists, I offer an alternative reading of the cultural priorities of the late modernist movement, one which uncovers a concern both with Trollope's cultural currency and with the material and social culture of the novel.
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