Elizabeth Bishop, who constructed poems of crystalline visual accuracy, is often regarded as the most painterly of twentieth-century American poets. In Deep Skin, Peggy Samuels explores Bishop's attraction to painters who experimented with dynamic interactions between surface and depth. She tells the story of the development of Bishop's poetics in relation to her engagement with mid-century art, particularly the work of Paul Klee, Kurt Schwitters, and Alexander Calder.Contemporary conversations about the visual arts circulating among art historians and reviewers shaped Bishop's experience and illuminated aesthetic problems for which she needed to find solutions. The book explores in particular the closest intellectual context for Bishop, her friend Margaret Miller, who worked as a research associate and later associate curator at the Museum of Modern Art. Samuels traces a complex and rich four-way metaphor in her portrait of Bishop's methods: surface of verse, surface of painting, skin, and interface between mind and world.The visual arts helped Bishop to develop a new model for lyric: the surface of verse becomes a threshold that opens in two directions--to nature and to the interior of the poet. Bishop's poetics is very much about the touch of the materials of the mind and world inside the materiality of verse. Translating and revising some of the concepts from the visual arts in her own linguistic medium, she begins to experiment with modulation, absorption, and incorporation across multiple registers of experience.
Termed a "Southern gothic musical," Ghost Brothers of Darkland County was scripted by novelist Stephen King with the music coming from maverick heartland rocker John Mellencamp, a collaboration a bit left-field for both artists. This set includes Mellencamp's songs interspersed with key dialogue from King's libretto, and while the story might be too complex -- essentially, it's the tale of two brothers involved in a murder/suicide whose ghosts haunt an isolated cabin and whose tragic deeds and consequent fate seems about to be repeated by their living nephews -- to be truly appreciated in single-disc form like this, so it's Mellencamp's songs, sung by the likes of Elvis Costello, Neko Case, Sheryl Crow, Dave and Phil Alvin (real-life brothers whose estrangement with each other ended while working on this project), Taj Mahal, Ryan Bingham, Clyde Mulroney, Rosanne Cash, and Kris Kristofferson (Mellencamp only sings on one song here, the summing-it-up last track "Truth") that are really left to carry things. They certainly work as songs, and may well be among the best Mellencamp has ever written, while the overall sound of the whole musical suite, crafted by T-Bone Burnett, is kind of like a sparse and shined-up version of a late-period Tom Waits album, due in part to the presence of multi-instrumentalist Marc Ribot on most of the tracks, and the tight, spare rhythm section of Jay Bellerose on drums and David Piltch on bass. The performances? Elvis Costello sounds gleeful and sinful on "That's Me" (identity and fulfillment are key themes of Ghost Brothers of Darkland Country, that and history's tendency to repeat itself), Neko Case is sassy and sure on "That's Who I Am," Kris Kristofferson sounds old, wise, and weary on "How Many Days," Taj Mahal rages through "Tear This Cabin Down," and Sheryl Crow is confident and cocky on "Jukin'," while Rosanne Cash turns in a delicately worn and wise reading of "You Don't Know Me," and for a story that spans decades and generations, it's obvious that everyone is singing about who they are, who they ought to be, and who they ended up becoming. It's difficult to say how good this musical is just from the songs and pieces of dialogue presented here, but the songs have a weary, inevitable flow to them, as if fate forced them into a dark room with little light or air or chance of redemption. Redemption comes with acceptance of who one is, the songs and story here seem to say, and only then can the real truth about what has happened to anyone really be revealed. It's a ghost story, after all. ~ Steve Leggett
Doggone it, it’s hard to beat a southern boy when it comes to charming the ladies. Crimson rounds up nine sassy romances so hot, you’ll want to slap your momma. Misbehaving in Merritt: When Dr. Maxwell Ellis Buchanan IV’s privileged life tailspins out of control, he’s sentenced to volunteer his time at Merritt’s local arts center. Even worse? He’ll report to Audrey Evans, a former ESPN reporter, who turned the arrogant golden boy down for a date. Working side by side, Max and Audrey find surprising common ground and breathless chemistry—but will their differences divide them? From One Night to Forever: Trucker Aaron Henderson rolls into Resilient, Tennessee, for business, but his one-night stand turns out to be his new partner’s baby sister. When Kacey Randal learns Aaron has a list of conquests as high as his big rig’s mileage, she’s ready to pretend their night together never happened. Can he prove to Kacey he’s ready to reform his roaming ways? What a Texas Girl Dreams: They are opposites in so many ways, but the more veterinarian Trickett Samuels gets to know footloose and fancy free Monica Witte, the more he wonders if he can convince this Texas girl that having roots will only help her soar higher. Fool for You: Sports journalist Melanie Foster is loving her high-flying career, now she just has to convince her best friend, Damien Richards, to put a ring on it. But Damien’s trying to save the non-profit where he volunteers, even if it means sacrificing personal happiness. When he finally realizes Mel is the girl for him, can he convince her he’s worth a second chance? Flame Unleashed: After Ruth Blackstone’s husband repaid her sacrifice with betrayal 150 years ago, she’s not willing to trust Cajun rogue Odie Pierre-Noir’s risky plan to win freedom for all Indebteds. Soon, however, she’ll need to choose: continue to lived a damned life but with Odie as her lover or risk their eternal souls for one chance to break the curse. Bride by the Book: Small-town Arkansas attorney Garner Holt badly needs an assistant to sort out his cluttered office, but he didn’t expect a super-secretary like Miss Angelina Brownwood. But an online search reveals Angelina isn’t actually a secretary. Does her secret mean he can’t make this unique woman his for life? Blue Moon: On a mission in Florida, Gabriel Rayner rescues a beautiful, drowning mermaid who is searching for a champion to fight an evil warlord and save her people. If they fall in love, Gabe will be enslaved to the Merfolk for eternity. In a clash of culture shock and heat, Gabriel and Ephyra battle those odds, but will they have to sacrifice their love to save her life? Carolina Love Song: Bix Bullard was Judy’s childhood sweetheart. Unfortunately when he returns home and his city friends descend on the estate, it’s clear that the beautiful, wealthy Marise considers him her exclusive property. Can Judy dare hope she could rekindle his lost love for her? Mischief and Magnolias: Natchez, Mississippi, peacefully surrendered to the Union Army—but Shaelyn Cavanaugh didn’t. Major Remy Harte has taken over her home and her beloved steamboats, and she will use every mischievous weapon at her disposal to drive out the Union soldier. But their growing attraction is unavoidable. Can their budding romance survive when a common enemy accuses Shae of espionage?
From one of the world’s leading voices on white privilege and anti-racism work comes this collection of essays on complexities of privilege and power. Each of the four parts illustrates Peggy McIntosh’s practice of combining personal and systemic understandings to focus on power in unusual ways. Part I includes McIntosh’s classic and influential essays on privilege, or systems of unearned advantage that correspond to systems of oppression. Part II helps readers to understand that feelings of fraudulence may be imposed by our hierarchical cultures rather than by any actual weakness or personal shortcomings. Part III presents McIntosh‘s Interactive Phase Theory, highlighting five different world views, or attitudes about power, that affect school curriculum, cultural values, and decisions on taking action. The book concludes with powerful insights from SEED, a peer-led teacher development project that enables individuals and institutions to work collectively toward equity and social justice. This book is the culmination of forty years of McIntosh’s intellectual and organizational work.
Essential Medical Terminology, Fourth Edition is updated with a new full-color design as well as new and revised terms and definitions. The Fourth Edition includes more than 200 full-color photos, illustrations, and tables to enhance key points and aid comprehension This best-selling introduction to medical terminology is based on the body-systems method and is flexible enough to be used in traditional or self-instructional course formats. Suited for students of all levels in the health professions, this accessible text provides the appropriate amount of detail needed to learn the basics of medical terminology. After learning the fundamentals of pronunciation, students can study the chapters in any order the instructor deems appropriate..
Plume's regionally organized, annually updated classic guides list hundreds of homes and reservation services, all carefully screened, to provide a wealth of information on thousands of "home-stays".With some listings as little as $60 per night, these guides offer a friendly, homestyle option for business travelers, family vacationers, and anyone looking for something different.
Elizabeth Bishop, who constructed poems of crystalline visual accuracy, is often regarded as the most painterly of twentieth-century American poets. In Deep Skin, Peggy Samuels explores Bishop's attraction to painters who experimented with dynamic interactions between surface and depth. She tells the story of the development of Bishop's poetics in relation to her engagement with mid-century art, particularly the work of Paul Klee, Kurt Schwitters, and Alexander Calder.Contemporary conversations about the visual arts circulating among art historians and reviewers shaped Bishop's experience and illuminated aesthetic problems for which she needed to find solutions. The book explores in particular the closest intellectual context for Bishop, her friend Margaret Miller, who worked as a research associate and later associate curator at the Museum of Modern Art. Samuels traces a complex and rich four-way metaphor in her portrait of Bishop's methods: surface of verse, surface of painting, skin, and interface between mind and world.The visual arts helped Bishop to develop a new model for lyric: the surface of verse becomes a threshold that opens in two directions--to nature and to the interior of the poet. Bishop's poetics is very much about the touch of the materials of the mind and world inside the materiality of verse. Translating and revising some of the concepts from the visual arts in her own linguistic medium, she begins to experiment with modulation, absorption, and incorporation across multiple registers of experience.
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