A genealogy of the author's family, focusing on the family of Isaac Griffith and Eliza Curtis at the beginning of the 18th century in My Lady's Manor, Baltimore County, Maryland, and their descendants, including the families of those marrying into the Griffith family. Includes photos, charts, maps, index.
Super powers? Super useless.At seventeen, disgraced former beauty queen Daisy just wants to escape her viral-video past. The flaming baton that caught the stage and a judge's pants on fire also burned up her dreams of someday becoming a serious TV journalist. Now Daisy faces a dead-end summer job in her dead-end hometown. The only cool guy in Prairie Grass, Cliff Calloway, doesn't even know she exists, and her arch nemesis is determined to keep it that way. Then lightning strikes Daisy crashes her jeep and a vision swiftly unfolds. "You, Daisy Blaine, have been selected for The Power." In one fell swoop everything changes, but not for the better. Getting turned into a superhero by a goddess isn't all it's cracked up to be, especially when you want to keep a low profile. Super Daisy is another fun escape from USA Today bestselling, and #1 YA bestselling* author Jennifer Griffith. "Daisy is delightful It's a short novella with a powerful punch of humor." -jthaynes "I love the quirky main character, the crazy superpowers, and the imperfectness of life that still results in a wonderful happy ending." - Clementine22 *Deseret Book #1 YA bestselling author, 2006.
He's big. He's blond. He never intended to sumo wrestle.At 300+ pounds, good-guy Buck Cooper is a nobody. Nobody at work, nobody in love, nobody anywhere. Then, a trip to Japan changes Buck's life forever.Suddenly this Texan is the first ever blond sumo wrestler.It's all fun and games-at first. But life in the sumo ring proves more challenging-and dangerous-than Buck could've ever imagined. From the seedy underbelly of Japan's mafia to Tokyo alleyways with hired ninja assassins, Buck dives deep into the secret world of sumo.Climb right into the ring with Buck as he fights-sometimes for his life-against some of earth's biggest enemies. With his integrity as his greatest strength, Buck may even find love with a beautiful princess in need of saving. This big, blond hero's journey is a gripping tale not to be missed.Named "Best of 2012" by KSL TV.Big in Japan is: Great for Book Clubs.Perfect for fans of Rudy and Beverly Hills Ninja or Karate Kid / Cobra Kai.A great book for high school boys.Awesome for fans of an underdog sports comedy.
This book introduces a compelling new personality to the modernist canon, Marisa Mori (1900-1985), who became the only female contributor to The Futurist Cookbook (1932) with her recipe for “Italian Breasts in the Sun.” Providing something more complex than a traditional biographical account, Griffiths presents a feminist critique of Mori’s art, converging on issues of gender, culture, and history to offer new critical perspectives on Italian modernism.If subsequently written out of modernist memory, Mori was once at the center of the Futurism movement in Italy; yet she worked outside the major European capitals and fluctuated between traditional figurative subjects and abstract experimentation. As a result, her in-between pictures can help to re-think the margins of modernism. By situating Mori’s most significant artworks in the critical context of interwar Fascism, and highlighting her artistic contributions before, during, and after her Futurist decade, Griffiths contributes to a growing body of knowledge on the women who participated in the Italian Futurist movement. In doing so, she explores a woman artist’s struggle for modernity among the Italian Futurists in an age of Fascism.
This book introduces a compelling new personality to the modernist canon, Marisa Mori (1900-1985), who became the only female contributor to The Futurist Cookbook (1932) with her recipe for “Italian Breasts in the Sun.” Providing something more complex than a traditional biographical account, Griffiths presents a feminist critique of Mori’s art, converging on issues of gender, culture, and history to offer new critical perspectives on Italian modernism.If subsequently written out of modernist memory, Mori was once at the center of the Futurism movement in Italy; yet she worked outside the major European capitals and fluctuated between traditional figurative subjects and abstract experimentation. As a result, her in-between pictures can help to re-think the margins of modernism. By situating Mori’s most significant artworks in the critical context of interwar Fascism, and highlighting her artistic contributions before, during, and after her Futurist decade, Griffiths contributes to a growing body of knowledge on the women who participated in the Italian Futurist movement. In doing so, she explores a woman artist’s struggle for modernity among the Italian Futurists in an age of Fascism.
Jennifer Griffiths's At Risk: Black Youth and the Creative Imperative in the Post-Civil Rights Era focuses on literary representations of adolescent artists as they develop strategies to intervene against the stereotypes that threaten to limit their horizons. The authors of the analyzed works capture and convey the complex experience of the generation of young people growing up in the era after the civil rights movement. Through creative experiments, they carefully consider what it means to be narrowed within the scope of a sociological "problem," all while trying to expand the perspective of creative liberation. In short, they explore what it means to be deemed an "at risk" youth. This book looks at crucial works beginning in 1968, ranging from Sapphire’s Push and The Kid, Walter Dean Myers’s Monster, and Dael Orlandersmith’s The Gimmick, to Bill Gunn’s Johnnas. Each text offers unique representations of Black gifted children, whose creative processes help them to navigate simultaneous hypervisibility and invisibility as racialized subjects. The book addresses the ways that adolescents experience the perilous "at risk" label, which threatens to narrow adolescent existence at a developmental moment that requires an orientation toward possibility and a freedom to experiment.Ultimately, At Risk considers the distinct possibilities and challenges of the post–civil rights era, and how the period allows for a more honest, multilayered, and forthright depiction of Black youth subjectivity against the adultification that forecloses potential.
Jennifer Griffiths's At Risk: Black Youth and the Creative Imperative in the Post-Civil Rights Era focuses on literary representations of adolescent artists as they develop strategies to intervene against the stereotypes that threaten to limit their horizons. The authors of the analyzed works capture and convey the complex experience of the generation of young people growing up in the era after the civil rights movement. Through creative experiments, they carefully consider what it means to be narrowed within the scope of a sociological "problem," all while trying to expand the perspective of creative liberation. In short, they explore what it means to be deemed an "at risk" youth. This book looks at crucial works beginning in 1968, ranging from Sapphire’s Push and The Kid, Walter Dean Myers’s Monster, and Dael Orlandersmith’s The Gimmick, to Bill Gunn’s Johnnas. Each text offers unique representations of Black gifted children, whose creative processes help them to navigate simultaneous hypervisibility and invisibility as racialized subjects. The book addresses the ways that adolescents experience the perilous "at risk" label, which threatens to narrow adolescent existence at a developmental moment that requires an orientation toward possibility and a freedom to experiment.Ultimately, At Risk considers the distinct possibilities and challenges of the post–civil rights era, and how the period allows for a more honest, multilayered, and forthright depiction of Black youth subjectivity against the adultification that forecloses potential.
Holly When Holly Jensen inherits her estranged aunt's house, she doesn't expect to have to fight with local heartthrob Derek Sterling over rightful ownership, but she's determined to find the truth about the house that she plans to turn into a Bed and Breakfast.Holly stumbles upon her aunt Celia's journals in the attic which reveal a shocking truth: Her aunt Celia and Derek's grandfather, Graham were once lovers.Between trying to start a new business and finding her place in the town, Holly must also confront the strange all-consuming feelings that are evoked whenever she's near Derek.Derek Derek Sterling is the town council president of a slowly dying small town, but he has a plan to save it. Now that the reclusive woman who was squatting in his grandfather's house for the last seventy years is gone(may she rest in peace), it's time for action.Things are falling into place for him except for Holly, the fiery redhead who just swept into town claiming the house as her own. For reasons he can't explain, Derek is pulled toward Holly with a longing he's never experienced before. The eternally noble Derek knows he needs to choose the town over his growing adoration for Holly, but he can't stay away from her.As secrets are revealed, Holly and Derek need to decide if what they are feeling for each other is real or if there is something divine forcing them together.
Studies of traumatic stress have explored the challenges to memory as a result of extreme experience, particularly in relation to the ways in which trauma resonates within the survivor's body and the difficulties survivors face when trying to incorporate their experience into meaningful narratives. Jennifer Griffiths examines the attempts of several African American writers and playwrights to explore ruptures in memory after a traumatic experience and to develop creative strategies for understanding the inscription of trauma on the body in a racialized cultural context. In the literary and performance texts examined here, Griffiths shows how the self is reconstituted through testimony - through the attempt to put into language and public statement the struggle of survivors to negotiate the limits placed on their bodies and to speak controversial truths. Dessa in her jail cell, Venus in the courtroom, Sally on the auction block, Ursa in her own family history, and Rodney King in the video frame - each character in these texts by Sherley Anne Williams, Suzan-Lori Parks, Robbie McCauley, Gayl Jones, and Anna Deavere Smith gives voice not only to the limits of language in representing traumatic experience but also to the necessity of testimony as the public enactment of memory and bodily witness. In focusing specifically and exclusively on the relation of trauma to race and on the influence of racism on the creation and reception of narrative testimony, this book distinguishes itself from previous studies of the literatures of trauma.
Studies of traumatic stress have explored the challenges to memory as a result of extreme experience, particularly in relation to the ways in which trauma resonates within the survivor's body and the difficulties survivors face when trying to incorporate their experience into meaningful narratives. Jennifer Griffiths examines the attempts of several African American writers and playwrights to explore ruptures in memory after a traumatic experience and to develop creative strategies for understanding the inscription of trauma on the body in a racialized cultural context. In the literary and performance texts examined here, Griffiths shows how the self is reconstituted through testimony - through the attempt to put into language and public statement the struggle of survivors to negotiate the limits placed on their bodies and to speak controversial truths. Dessa in her jail cell. Venus in the courtroom, Sally on the auction block, Ursa in her own family history, and Rodney King in the video frame - each character in these texts by Sherley Anne Williams, Suzan-Lori Parks, Robbie McCauley, Gayl Jones, and Anna Deavere Smith gives voice not only to the limits of language in representing traumatic experience but also to the necessity of testimony as the public enactment of memory and bodily witness. In focusing specifically and exclusively on the relation of trauma to race and on the influence of racism on the creation and reception of narrative testimony, this book distinguishes itself from previous studies of the literatures of trauma.
As featured on 60 Minutes, Dateline, Inside Edition, and 48 Hours, the shocking true story of banker Edmond Safra's death and the man wrongfully convicted and imprisoned for the crime. When billionaire banker Edmond Safra died in the ashes of Monaco’s La Belle Époque building on December 3, 1999, the event made international headlines—for many reasons. One, of course, was the sheer wealth of the Lebanese mogul and his formidable presence in the international banking world. But the more seductive reason for the worldwide attention was the strange and intriguing way Safra died—ensconced within the armored walls of his vigilantly secured residence in the “safest city in the world.” At 4:45 in the morning, a firestorm gutted Safra’s opulent Monte Carlo penthouse, trapping—and killing—Safra and one of his nurses, Vivian Torrente. When the fire was ruled arson, a fast finger was pointed at the only other nurse present: former Green Beret Ted Maher. The true, bizarre circumstances that led to Safra’s death and to the subsequent imprisonment of Ted Maher are contained within the pages of Framed in Monte Carlo: How I Was Wrongfully Convicted for a Billionaire’s Fiery Death. The story features a play-by-play of that deadly night, as well as Ted’s sham of a trial that put him behind bars for seven years and eight months. Brutal betrayals, harrowing kidnappings, prison breaks straight out of The Great Escape, and more pepper the pages of Framed in Monte Carlo. Ted was freed when the judge from his trial came forward with a stunning revelation. But his life was never the same. And since his return to American soil, he’s continued to unearth more and more disturbing details about his ordeal. Armed with fresh facts, a greater understanding of the players, and a wider lens of perspective, Ted now reveals all, including his never-before-released findings that seek to answer the lingering big question: Who did kill Edmond Safra? The powerful famous names legitimately put forth by the author will shock you.
