None of these poems have been previously published. I am the photographer for all the pictures you’ll see in the book. I was inspired to make use of the photographs, all originally taken for a different purpose, by W. G. Sebald’s use of photographs in his novel Austerlitz. Which is not to pretend to the moral and tragic dimension of that great work: these poems are motivated most often toward whimsy, stillness, or both, to which the photos are point and counterpoint. They were written over the quarter century between 1985 and 2010. I am now seventy-five years of age; I will not be writing more of them.
This is a story of epic ambition—literally. It is one of an ambiguous and contestable heroism, of guilt, of stigma, of resilience, of mental illness, and of baseball. There’s music and murder, sanity, sainthood, and sickness. There is love within and across generations, and there is loss and grief. There’s hatred, crime, and revenge. There is baseball, the violin, philosophy, natural and hard-earned talents, mentored and mentor. Not enough yet? Here is a story of Kid Dee, of his unusual mother, and of religion, pro (his) and con (hers)—not to speak of a memorable father and friendships. Kid talks on and on, and for some, he gets tedious. It’s all made-up. Strange things happen.
This volume brings together two authors, one a psychiatrist, one a philosopher, to listen to one another’s reading of five stories of what it’s like to bear a different mental or physical illness. The beginning story, or anchor, for the conversation that unfolds between them is that of a person subject to recurring spells of catatonia, the uncanniest of human conditions. They discover that truly understanding what an illness is calls for understanding it within the context of who suffers it, that to understand illness is to establish the right relation between what is being suffered and who is suffering it. This deceptively simple way of talking, which is labelled who/what talk, will prove more practical and more clarifying than will terms like “mental” and “physical.” Furthermore, it has this additional dividend: it intrinsically resists a temptation toward medical prejudice—the inclination for doctors and other caregivers to lose the who of the sufferer through their focus on the what of her illness.
This is a story of epic ambition—literally. It is one of an ambiguous and contestable heroism, of guilt, of stigma, of resilience, of mental illness, and of baseball. There’s music and murder, sanity, sainthood, and sickness. There is love within and across generations, and there is loss and grief. There’s hatred, crime, and revenge. There is baseball, the violin, philosophy, natural and hard-earned talents, mentored and mentor. Not enough yet? Here is a story of Kid Dee, of his unusual mother, and of religion, pro (his) and con (hers)—not to speak of a memorable father and friendships. Kid talks on and on, and for some, he gets tedious. It’s all made-up. Strange things happen.
This work explores how the new medium of television changed America's pastime and traces the sometimes contentious but mutually beneficial relationship between baseball and television, from the first televised game in 1939 to the modern-day world of Internet broadcasts, satellite radio, and high-definition television. Original.
None of these poems have been previously published. I am the photographer for all the pictures you’ll see in the book. I was inspired to make use of the photographs, all originally taken for a different purpose, by W. G. Sebald’s use of photographs in his novel Austerlitz. Which is not to pretend to the moral and tragic dimension of that great work: these poems are motivated most often toward whimsy, stillness, or both, to which the photos are point and counterpoint. They were written over the quarter century between 1985 and 2010. I am now seventy-five years of age; I will not be writing more of them.
This book traces the extraordinary life and career of Mel Brooks, who has ridden a wave of show business success perhaps unsurpassed by anyone of his generation. Offering many insights into the wacky world of Brooks and his many collaborators, as well as an intimate look into his successful marriage to the brilliant and beautiful actress Anne Bancroft, It's Good to Be the King might just be the most delightful, engaging, and entertaining biography you'll ever read.
The book traces the rise and fall of Harvey Matusow, a wise-guy, professional informer-witness of the McCarthy era, whose dramatic recantation led to his own imprisonment but hastened the end of the era. No issue so possessed the nation in the first half of the 1950s as alleged Communist subversion in the United States. Communist Party member, an undercover FBI informer inside the Party, and then a leading witness for the government during the McCarthy era--until he recanted his testimony. His story illuminates a disturbing time in American history, one with renewed relevance today. Matusow was easily the most flamboyant of the professional ex-Communists, a celebrity informer who considered himself booked by Congressional committees not just to testify, but to entertain. He testified that Communists fostered loose sex, taught politicized Mother Goose rhymes to small children, and tried to infiltrate the Boy Scouts. He also named more than 200 people as Communists and was a prosecution witness in major criminal cases. transcripts, personal interviews, private papers, and other primary sources, most never before utilized, to describe the unusual role of ex-Communist informer-witnesses during the McCarthy era. The Justice Department kept several dozen political informers on the government's payroll to testify in hundreds of deportation, sedition, and contempt of Congress cases. Some informers achieved celebrity as the result of high-profile appearances at criminal trials and before Congressional committees. But as the era continued, instances of perjury began to appear. Harvey Matusow's sensational recantation in 1955 gave him his biggest audience yet. It led to the dissolution of the Justice Department's informer stable and ended the public's infatuation with the group. Matusow's unrepentant and at times vaudevillian appearances before the Senate red-hunting committee investigating his recantation, followed by his prosecution for perjury--for the recantation, not his original testimony--and prison sentence, mark the climax of Deadly Farce . McCarran, and Elizabeth Bentley, among many others, offers an inside, entertaining, and closely documented view of a largely untold part of McCarthy-era history. The columnist Murray Kempton described Matusow as a truly remarkable witness in the opera bouffe sense demanded by inquisitions of the 1950s.
By the mid-1950s, New York had been the unrivaled capital of America's national pastime for a century, a place where baseball was followed with a truly fanatical fevor. The city's threee teams--the New York Yankees, the New York Giants, and the Brooklyn Dodgers--had over the previous decade rewarded their fans'devotion with stellar performances: From 1947-1957, one or more of these teems had played in the World series every year but one. Yet on opening day 1958, the Giants and Dogers were gone. Their owners, Walter O'Malley and Horance Stoneham, had ripped them away from their longtime home and from the hearts of millions of devoted and passionate fans and taken them to California" -- inside cover.
In a work of encyclopedic scope, International Trotskyism, 1929-1985 is sure to become the definitive reference work on a movement that has had a significant impact on the political culture of countries in every part of the world for more than half a century. Renowned scholar Robert J. Alexander has amassed, from disparate sources, an unprecedented amount of primary and secondary material to provide a documentary history of the origins, development, and nature of the Trotskyist movement around the world. Drawing on interviews and correspondence with Trotskyists, newspaper reports and pamphlets, historical writings including the annotated writings of Trotsky in both English and French, historical memoirs of Trotskyist leaders, and documents of the Fourth International, Alexander recounts the history of the movement since Trotsky's exile from the Soviet Union in 1929. Organized alphabetically in a double-column, country-by-country format this book charts the formation and growth of Trotskyism in more than sixty-five countries, providing biographic information about its most influential leaders, detailed accounts of Trotsky's personal involvement in the development of the movement in each country, and thorough reports of its various factions and splits. Multiple chapters are reserved for countries where the movement was more active or fully developed and various chapters are organized around crucial thematic issues, such as the Fourth International. The chapters are followed by extensive name, organization, publication, and subject indexes, which provide optimal access to the wealth of information contained in the main body of the work.
One of the most endearing of American heroes, Casey Stengel guided the New York Yankees to ten pennants in twelve seasons. Here is the brilliant manager stripped naked—the person underneath all the clowning, mugging, and double-talking. Robert Creamer shows us Casey at twenty-two, famous from his very first day in the big leagues. We see Casey’s playing career fall apart as he is traded, shunted to last-place teams, hampered by injuries, considered finished—until he bats a glorious home run in the 1923 World Series. Here are Casey’s managing successes and failures—dismissed by the Yankees, he returns to the limelight with his new and inept New York Mets, the team he single-handedly lifts into the nation’s consciousness. “I’m a man that’s been up and down,” Casey said in a serious moment. Certainly his knack for bouncing back made him a legend in our national pastime. Here are the stories and gags, the Stengelian style, the full dimensions of the man.
For any course teaching application software using Microsoft Office 2000 applications. This book will appeal to students in a variety of disciplines including liberal arts, business, and the sciences. All books in this series offer consistent presentation - common design, pedagogy, and writing style. Concepts as well as key-strokes are stressed. Hands-on exercises in every lesson provide just the right amount of practice time. This best-selling author teams hands-on approach and conceptual framework helps students master important concepts, as well as the features of the powerful new Office 2000 applications. MOUS Certification throughout the expert level for all individual applications and Office 2000. Provides the necessary training to pass the MOUS exam at the expert level, preparing students to enter todays job market. The Proficient Certification Edition provides training for the proficient level MOUS exam in all Office 2000 applications. Quality, four-color, spiral bound - Exploring Office 2000 series covers Word 2000, Access 2000, Excel 2000, and PowerPoint 2000. There are three combined texts in the series, Exploring Microsoft Office 2000, Vol. I and II and Brief Office Pro
Certain lines define a movie. Marlene Dietrich in Morocco: “Anyone who has faith in me is a sucker.” Too, there are lines that fit actor and character. Mae West in I’m No Angel: “I’m very quick in a slow way.” Jane Fonda in California Suite: “Fit? You think I look fit? What an awful shit you are. I look gorgeous.” From the classics to the grade–B slasher movies, over 11,000 quotes are arranged by over 900 subjects, like accidents, double entendres, eyes (and other body parts!), ice cream, luggage, parasites, and ugliness. Each quote gives the movie title, production company, year of release, speaker of the line, and, when appropriate, a comment putting the quote in context.
Originality" is only plagiarizing from a great many', remarked Rupert Brooke, stealing the line from Voltaire. Questions of originality, and accusations of plagiarism, are as old as literature, but different literary cultures have interpreted the relationship between originality and plagiarism in startlingly dissimilar ways. Original Copy investigates and documents the drastic reappraisal of literary originality and plagiarism which occurred over the course of the nineteenth century: from the heroic visions of original authorship that characterised the 1820s and 1830s, through to the stickle-brick creativity of Oscar Wilde and Lionel Johnson at the century's end. It reveals how ideas of originality and plagiarism were not only a theoretical concern of Victorian commentators on literature, but also provided many important Victorian writers - Eliot, Dickens, Reade, Pater, Wilde, and Lionel Johnson among them - with a creative resource. Moving between numerous different fields of thought and knowledge - literary criticism, the history of science, manuscript culture, anthropology - and written in a supple and elegant style, this book shows that the ideas of originality and plagiarism were the subjects of nineteenth-century literature, as well as what it was subject to.
Much has been written about Roger Maris and the historic summer of 1961 when he broke Babe Ruth's single-season home run record yet little is known about the pitchers on the other side of the tale. One of the many knocks against Maris was that he faced inferior pitching in an American League watered down by expansion from eight to 10 teams. But was that really the case? Did Maris face has-beens and never-weres while Ruth confronted the cream of AL pitching? Who were these starters and relievers and how good were they? Drawing on first-hand accounts, interviews and a range of contemporary sources, this study covers each of Maris' 63 home runs that season, including the lost one and his game-winning World Series dinger. Biographies of each of his 48 victims cover the pitcher's career, pitching style and the circumstances of the game. Maris faced some really fine pitching that summer despite what many contended then--and now.
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