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Like a Ship's Fair Ghost Upon the Sea - Poetry Dedicated to the White Ship
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2021
pokkari
A collection of poetry by various poets dedicated to the White Ship, a vessel that sank in the English Channel on 25th November, 1120. The ship was carrying around 300 people, including the only legitimate son and heir of King Henry I of England, William Adelin. All but one of those aboard died, and it was the death of William Adelin that led to...
Like Father, Like Son
Hodder Stoughton
2020
sidottu
'a quietly impressive book, which does something most celebrity autobiographies shy away from: it seeks the truth and, more often than not, finds it.' - THE MAILA look at the life and times of the man Sir Michael most looked up to.It started in the shadow of the pithead in a South Yorkshire mining village and ended up in tears before an audience of millions. Michael Parkinson's relationship with his late father John William was, and remains, a family love story overflowing with tenderness and tall tales of sporting valour, usually involving Yorkshire cricket or Barnsley FC. However, it was the overwhelming grief which poured out of Michael when Piers Morgan pressed him about John William in a television interview - four decades after the death of the father he encapsulated as 'Yorkshireman, miner, humorist and fast bowler' - that convinced one of the outstanding broadcasters and journalists of our time to delve deeper into the dynamics of their lives together. Co-written with his son Mike, this affectionate and revealing memoir explores the influences which shaped John William, Michael and succeeding generations of Parkinsons. The journey leads them from the depths of a Yorkshire coal mine, via the chapel, pub and picture-house, to a spot behind the bowler's arm at Lord's and the sands at Scarborough. While Like Father, Like Son conveys a powerful sense of time and place, it is wit, insight and, above all, enduring love which shine through its pages.
A CAREER-SPANNING COLLECTION OF INSPIRING, REVELROUS ESSAYS ABOUT ART AND ARTISTS'Like Love may be one of the most movingly specific, the most lovingly unruly celebrations of the ethics of friendship we have' Guardian'Incisive, smart and witty, it will leave you looking and love and life anew' iLike Love is a momentous, raucous collection of essays drawn from twenty years of Maggie Nelson’s brilliant work. These profiles, reviews, remembrances, tributes and critical essays, as well as several conversations with friends and idols, bring to life Nelson’s passion for dialogue and dissent. The range of subjects is wide – from Prince to Carolee Schneemann to Kara Walker to Bjork – but certain themes recur: intergenerational exchange; love and friendship; feminist and queer issues, especially as they shift over time; subversion, transgression and perversity; and the fruits and follies of a life spent devoted to making.The collection is a portrait of a time, an anarchic party rich with wild guests, a window into Nelson’s own development as a writer, and a testament to the profound sustenance offered by art and artists.‘Maggie Nelson is one of the most unique voices in non-fiction: enquiring, political, lyrically dazzling, empathetic’ Sinéad Gleeson
An exploration of the mythical Mary Glass—her art, her life, and her times Mary Glass (1946–2021) was an innovative modern dancer and choreographer, quietly instrumental to the San Francisco Bay Area art scene of the 1960s and '70s—barely known today—admired for her experimental movements based on sounds and images of the Pacific. As a child, Mary Glass took her first dance class with Anna Halprin on her famed redwood dance deck in Marin County's Kent Woodlands. Dancing with the blue sky as her ceiling—surrounded by magical madrones and redwoods—the effect on Mary Glass was seismic. Fittingly, Halprin called her classes "dance experiences." Mary Glass's lifestyle, her anxieties, and her dance reflect the human geography of Northern California: Happenings, Zero Population Growth (ZPG), feminism, same-sex love, civil rights, Vietnam, environmentalism. Cascading in the waves of the politics of the time was Mary Glass's anorexia, an unexpected pregnancy, and her life-long love affair with the Black painter Eliza Vesper. Today Mary Glass is remembered by an increasingly diminishing handful of devotees. Author Carol Mavor is one of them. In this daring work of fictocriticism, where "feelings are facts," Like the Sea asks its readers—just as Anna Halprin asked of each of her young students as they were leaving class—"What are you taking with you from the natural world?" Halprin's words will resonate in Mary's mind her entire lifetime and beyond. In the after-time of the prescient Mary Glass—with its decline of sea kelp and warm Decembers— Mavor herself considers the Anthropocene, tasting extinction as if swallowing the long-gone abalone mollusks of her own Bay-Area childhood: salty, like the sea, but strangely sweet. And from it, Mavor delivers the reader to the far-away country of the not-so-distant past to help envision a future. There are no photographs or films of Mary Glass dancing. The life of Mary Glass is nearly forgotten, her memory on the edge of extinction. In meditative, dazzling and lyrical prose, Like the Sea tells us—like the ocean's music in our ear—we need to remember extinction to imagine our way out of it.
An exploration of the mythical Mary Glass—her art, her life, and her times Mary Glass (1946–2021) was an innovative modern dancer and choreographer, quietly instrumental to the San Francisco Bay Area art scene of the 1960s and '70s—barely known today—admired for her experimental movements based on sounds and images of the Pacific. As a child, Mary Glass took her first dance class with Anna Halprin on her famed redwood dance deck in Marin County's Kent Woodlands. Dancing with the blue sky as her ceiling—surrounded by magical madrones and redwoods—the effect on Mary Glass was seismic. Fittingly, Halprin called her classes "dance experiences." Mary Glass's lifestyle, her anxieties, and her dance reflect the human geography of Northern California: Happenings, Zero Population Growth (ZPG), feminism, same-sex love, civil rights, Vietnam, environmentalism. Cascading in the waves of the politics of the time was Mary Glass's anorexia, an unexpected pregnancy, and her life-long love affair with the Black painter Eliza Vesper. Today Mary Glass is remembered by an increasingly diminishing handful of devotees. Author Carol Mavor is one of them. In this daring work of fictocriticism, where "feelings are facts," Like the Sea asks its readers—just as Anna Halprin asked of each of her young students as they were leaving class—"What are you taking with you from the natural world?" Halprin's words will resonate in Mary's mind her entire lifetime and beyond. In the after-time of the prescient Mary Glass—with its decline of sea kelp and warm Decembers— Mavor herself considers the Anthropocene, tasting extinction as if swallowing the long-gone abalone mollusks of her own Bay-Area childhood: salty, like the sea, but strangely sweet. And from it, Mavor delivers the reader to the far-away country of the not-so-distant past to help envision a future. There are no photographs or films of Mary Glass dancing. The life of Mary Glass is nearly forgotten, her memory on the edge of extinction. In meditative, dazzling and lyrical prose, Like the Sea tells us—like the ocean's music in our ear—we need to remember extinction to imagine our way out of it.
A vivid, imaginative response to the sensual and erotic in postwar American photography, with attention to the beauty of the nude, both male and female When photographer Coda Gray befriends a family with a special interest in a young boy, the motivation behind his special attention is difficult to grasp, "like water slipping through our fingers." Can a man innocently love a boy who is not his own? Using fiction to reveal the truths about families, communities, art objects, love, and mourning, Like a Lake tells the story of ten-year-old Nico, who lives with his father (an Italian- American architect) and his mother (a Japanese-American sculptor who learned how to draw while interned during World War II). Set in the 1960s, this is a story of aesthetic perfection waiting to be broken. Nico's midcentury modern house, with its Italian pottery jars along the outside and its interior lit by Japanese lanterns. The elephant-hide gray, fiberglass reinforced plastic 1951 Eames rocking chair, with metal legs and birch runners. Clam consommé with kombu, giant kelp, yuzu rind, and a little fennel—in each bowl, two clams opened like a pair of butterflies, symbols of the happy couple. Nico's boyish delight in developing photographs under the red safety light of Coda's "Floating Zendo"— the darkroom boat that he keeps on Lake Tahoe. The lives of Nico, his parents, and Coda embody northern California's postwar landscape, giving way to fissures of alternative lifestyles and poetic visions. Author Carol Mavor addresses the sensuality and complexity of a son's love for his mother and that mother's own erotic response to it. The relationship between the mother and son is paralleled by what it means for a boy to be a model for a male photographer and to be his muse. Just as water can freeze into snow and ice, melt back into water, and steam, love takes on new forms with shifts of atmosphere. Like a Lake's haunting images and sensations stay with the reader.
Like Ripples on Water is, first of all, a book about Russian Baptists and their preaching. While this religious group has attracted significant amount of interest from the academic community, the majority of the existing research projects concentrate on the history of the movement, rather than its contemporary ecclesial realities. Preaching? At present, this is the only work that offers an in-depth study of the practice, central to the life of Russian Baptist communities. As it is shown in the book, one has to take into consideration numerous historical, theological, and cultural peculiarities to appreciate and apprehend the way preaching is seen and practiced in Russia. The inability to understand the practice of proclamation and its formative, as well as destructive potential bears long lasting and far reaching consequences for churches, preachers, and educational institutions, which aim at preparing pastors, missionaries, and church planters for Baptist churches in Russia and other countries that have shared history of Baptist presence. ""What is the place of preaching today, in a modern, multi-media context? Tima Cheprasov's sympathetic yet objectively critical study in the challenges of preaching, rooted in the narrative of cultural and ecclesial changes within a Russian context, provides preachers and leaders across the world church with a valuable platform to reflect on the place of preaching today, whatever context we are embedded within. I happily commend this book to those who would reflect on such things."" --Jim Purves, Baptist Union of Scotland ""Cheprasov is to be congratulated for this highly original, thoughtful, and stimulating account of the history, art, and practice of preaching in the Russian post-Soviet context of baptistic worship. Based on personal experience, solid academic reflections, and expert knowledge of patterns of worship in traditional Baptist churches, the book contains illuminating insights into the ministry of proclamation as a powerful practice with both constructive and destructive potential to affect baptistic faith communities in culturally Orthodox contexts."" --Parush R. Parushev, International Baptist Theological Study Centre, Amsterdam ""Cheprasov opens a window into a distinctive, sacramental form of preaching as it is found in Russian Baptist churches, and by doing so also traces the story and the context of Russian Baptists. Especially significantly, he offers a theological assessment of preaching as a 'powerful practice' that needs to be safeguarded by communal reading and interpretation of the Bible. Like Ripples on Water is likely to be of interest to historians, theologians, and preachers alike."" --Lina Toth, Scottish Baptist College, University of the West of Scotland Timofey Cheprasov has received his theological training at the International Baptist Theological Seminary in Prague, Czech Republic. Currently he serves as a pastor of Bury Baptist Church in Bury, Greater Manchester.
Like a Cat Asleep On a Chair: Reflections for the Season of Advent Based on Poetic Fragments
E. Wayne McLaughlin
Createspace Independent Publishing Platform
2016
nidottu
Like a Thief 4.0: Judgement Day
Richard Flentge
Createspace Independent Publishing Platform
2016
nidottu
What's really going on with earthquakes, fires, floods and demonic shooters? The End is now, and the truth is were not alone in space. Find out what's being hidden from the public, space war and extraterrestrial space signal contact. if you have questions, this fact book has answers.
Three women... three generations... the truth swimming in the distance.Lydia Franklin is starting middle school and is experiencing the choppy waves of friendship. Having spent her childhood along the banks of Lake Caywood, splashing and palling around with Sam Finley, she now wants to steer clear of the boy she once called a friend. The reason for this, however, is a mystery even to her.Jenny Johnson left Seattle with one goal: to forget the relationship that she lost. Having settled into her position as an English teacher at the local middle school, Jenny should be moving forward, but she finds that she's treading water, struggling to make new connections and friends in a place that is so unfamiliar.Ruby Gallagher's home atop the hill is at the center of a town debate. The truth behind why she refuses to sell is a story she won't share with just anyone, and as Petey Goode investigates, it becomes clear that Ruby's story has the words to explain not only her own truth, but Jenny and Lydia's as well.
Like A Flip Turn (color edition)
Hannah Rae
Createspace Independent Publishing Platform
2016
nidottu
Three women... three generations... the truth swimming in the distance.Lydia Franklin is starting middle school and is experiencing the choppy waves of friendship. Having spent her childhood along the banks of Lake Caywood, splashing and palling around with Sam Finley, she now wants to steer clear of the boy she once called a friend. The reason for this, however, is a mystery even to her.Jenny Johnson left Seattle with one goal: to forget the relationship that she lost. Having settled into her position as an English teacher at the local middle school, Jenny should be moving forward, but she finds that she's treading water, struggling to make new connections and friends in a place that is so unfamiliar.Ruby Gallagher's home atop the hill is at the center of a town debate. The truth behind why she refuses to sell is a story she won't share with just anyone, and as Petey Goode investigates, it becomes clear that Ruby's story has the words to explain not only her own truth, but Jenny and Lydia's as well.
