Many of these poems were inspired by nature and my surroundings while I was incarserated in a mental instution . My brother and sisters have always been there for me, and I would like to dedicate this book to my family and all that have been a part of my life through out this trying period. My hopes are to continue wrighting and for the public to read and enjoy my work! Please look on the shelves in a bookstore for my next book which will be an autobiography from my life and the system from my age of seven years old to present! Thank you for reading and may God Bless Your life as well as he'has blessed me!
Golden Age Hollywood screenwriter Charles Brackett was an extremely observant and perceptive chronicler of the entertainment industry during its most exciting years. He is best remembered as the writing partner of director Billy Wilder, who once referred to the pair as "the happiest couple in Hollywood," collaborating on such classics as The Lost Weekend (1945) and Sunset Blvd (1950). In this annotated collection of writings taken from dozens of Brackett's unpublished diaries, leading film historian Anthony Slide clarifies Brackett's critical contribution to Wilder's films and Hollywood history while enriching our knowledge of Wilder's achievements in writing, direction, and style. Brackett's diaries re-create the initial meetings of the talent responsible for Ninotchka (1939), Hold Back the Dawn (1941), Ball of Fire (1941), The Major and the Minor (1942), Five Graves to Cairo (1943), The Lost Weekend, and Sunset Blvd, recounting the breakthrough and breakdowns that ultimately forced these collaborators to part ways. Brackett was also a producer, served as president of the Academy of Motion Picture Arts and Sciences and the Screen Writers Guild, was a drama critic for the New Yorker, and became a member of the exclusive literary club, the Algonquin Round Table. Slide provides a rare, front row seat to the Golden Age dealings of Paramount, Universal, MGM, and RKO and the innovations of legendary theater and literary figures, such as Alfred Lunt, Lynn Fontanne, Edna Ferber, and Dorothy Parker. Through Brackett's keen, witty perspective, the political and creative intrigue at the heart of Hollywood's most significant films comes alive, and readers will recognize their reach in the Hollywood industry today.
2012 Nebula Award Winner 2012 Locus Award Winner 2013 Hugo Nominee 2013 Sturgeon Award Nominee In the year 2035, all that is left of humanity lives in the Shell. No one knows why the Tesslies attacked in 2014, devastated the environment, and nearly destroyed humanity. Or why the aliens imprisoned twenty-six survivors in a sterile enclosure built on the barren remains of the Earth. Fifteen-year-old Pete, one of only six children born in the Shell, is determined to lead humanity to a new beginning. But Pete struggles to control his anger as, one by one, the survivors sicken and die. Although the Earth appears to be slowly healing, the Shell’s inhabitants may not live long enough to see it. The only chance for humanity lies within brief time portals. Peter and the survivors hatch a desperate plan: to increase their numbers by abducting children from the past. In the year 2013, a brilliant CIA consultant sees a pattern in seemingly unrelated kidnappings. As Julie Kahn’s predictive algorithms reveal that the world is in imminent danger, she discovers that she may also play a role in its possible rebirth. Julie and Pete are rapidly converging in time—a chance encounter between them may be the Earth’s only hope.
THE UNSOLVED MURDER OF ADAM WALSH IS A TWO-BOOK SERIES ALSO READ BOOK ONE: FINDING THE KILLER Six-year-old Adam Walsh disappeared from the toy department of a Sears in Hollywood, Florida, in 1981. Two weeks later and 125 miles away, a child’s severed head was found and identified as Adam. His parents, Reve and John Walsh, deeply grieved and dedicated their lives going forward to helping find other parents’ children who had gone missing. In 2008, 27 years later, police announced at a live televised press conference that they’d finally solved the case, blaming the kidnapping and murder on a by-then dead man. Because of that there could never be a trial. All of that is true. But virtually everything else that you think you know about this famous case is wrong. In 1983, 25 years earlier, that suspect had volunteered a confession that he’d killed Adam Walsh. But the police then had deeply investigated his story and couldn’t verify anything he’d said, not even that he’d been within 400 miles of the area. In 2008, when a new Hollywood Police chief closed the case, he admitted they had no new evidence. What the new chief didn’t mention was that by then he had six separate police witnesses who’d been at the shopping mall on that day in 1981, and had since spoken up. Most had seen Adam; all had seen a much more likely suspect -- Jeffrey Dahmer. A microfilmed Miami police report the author found and had previously shown to the Walsh detectives proved that Dahmer was then living just a few miles from the Sears. Dahmer’s boss told the author that the prompt for the report was that Dahmer had told him he’d just found the body of a homeless man behind the store. Yes, bad luck, Jeffrey Dahmer found a dead body. 1981 was 10 years before Milwaukee police found severed heads in Dahmer’s refrigerator and arrested him as a serial killer. He said he’d killed his first victim in 1978. Even worse, it turned out that the identification of the child as Adam had been slapdash and suspect. The Walsh parents weren’t present for it; John Walsh wrote years later that he’d never viewed even photographs of the remains. A family friend had been present for the ID, and Walsh wrote that his first impression had been that it wasn’t Adam. Because the remains were only a severed head, there were no fingerprints, and forensic DNA was still years away. The pathologist making the identification did it strictly by teeth, but he admitted he wasn’t a dental expert. Dental X-rays, when available, are a standard for comparison, but he didn’t have them. He also had a forensic dentist available but never consulted him. A medical examiner in another regional office performed the autopsy, but he also never consulted a forensic dentist. Worse again, that medical examiner never wrote and submitted an autopsy report, as state laws and guidelines require. That perhaps never happens. Had police ever charged any live defendant with murder in this case, prosecutors in court would have been handcuffed to prove that the dead child was Adam. The case likely then would have ended. Why all the misdirection? Did Dahmer take Adam? Is Adam even dead, is that someone else’s child? Could Adam be… alive? Fifteen years of continuing research. Author’s story appeared in 2007 on ABC Primetime, and in 2010 on a Sunday front page of The Miami Herald. “I never, and to my knowledge no one in the office, prepared a report on the head of Adam Walsh.” -- 2010 email from Dr. Ronald K. Wright, in 1981 the Chief Broward County Medical Examiner, who performed the autopsy on the remains of the child previously identified as Adam Walsh, when asked if he had a personal copy of Adam Walsh’s autopsy report that neither the Medical Examiner’s Office nor the police had. “There’s no way in hell.” -- A Florida forensic dentist, viewing the teeth in both the last picture of Adam Walsh and the remains of the child identified as him, responding to the question of whether they could be the same child. Other forensic dentists shown the same material agreed.
The Exultet rolls of southern Italy are parchment scrolls containing text and music for the blessing of the great Easter candle; they contain magnificent illustrations, often turned upside down with respect to the text, The Exultet in Southern Italy provides a broad perspective on this phenomenon that has long attracted the interest of those interested in medieval art, liturgy, and music. This book considers these documents in the cultural and liturgical context in which they were made, and provides a perspective on all aspects of this particularly southern Italian practice. While previous studies have concentrated on the illustrations in these rolls, Kelly's book also looks at the particular place of the Exultet in changing ceremonial practices, provides background on the texts and music used in southern Italy, and inquires into the manufacture and purpose of the Exultets--why they were made, who owned them, and how they were used.
Can we remember other people's memories? The Generation of Postmemory argues we can: that memories of traumatic events live on to mark the lives of those who were not there to experience them. Children of survivors and their contemporaries inherit catastrophic histories not through direct recollection but through haunting postmemories multiply mediated images, objects, stories, behaviors, and affects passed down within the family and the culture at large. In these new and revised critical readings of the literary and visual legacies of the Holocaust and other, related sites of memory, Marianne Hirsch builds on her influential concept of postmemory. The book's chapters, two of which were written collaboratively with the historian Leo Spitzer, engage the work of postgeneration artists and writers such as Art Spiegelman, W.G. Sebald, Eva Hoffman, Tatana Kellner, Muriel Hasbun, Anne Karpff, Lily Brett, Lorie Novak, David Levinthal, Nancy Spero and Susan Meiselas. Grappling with the ethics of empathy and identification, these artists attempt to forge a creative postmemorial aesthetic that reanimates the past without appropriating it. In her analyses of their fractured texts, Hirsch locates the roots of the familial and affiliative practices of postmemory in feminism and other movements for social change. Using feminist critical strategies to connect past and present, words and images, and memory and gender, she brings the entangled strands of disparate traumatic histories into more intimate contact. With more than fifty illustrations, her text enables a multifaceted encounter with foundational and cutting edge theories in memory, trauma, gender, and visual culture, eliciting a new understanding of history and our place in it.
This book is a teaching textbook for both lower and upper level courses on modern Chinese history and/or modern visual culture. With fourteen chapters of well-illustrated original scholarship, the contributors introduce key themes of modern Chinese history while providing students with critical thinking skills in visual studies and analysis.