The New Principia Book 1 deals with the start of the New Principia — important scientific work — related to questions such as “How to find God,” “How to travel in Time”, “Travels in Outer Space” plus "Resolving the Andromeda Paradox" and more with proper explanations and some working methods for handling Ouija Boards, Near Death Experiences, Astral Projection, Hypnosis, Consciousness, Super-intelligent Machines and others. With The New Principia, the sky is not the limit.
The Lady from Philadelphia records the antics of the most memorably and hopelessly bumbling of respectable American families. Confronted by the endless challenges of daily life, the Peterkins rise to every occasion with misguided aplomb: They sit out in the sun for hours and fail to go for a ride because they’ve forgotten to unhitch the horse; they play the piano from the porch through the parlor window because the movers left the keyboard turned that way; they decide to raise the ceiling to accommodate a too-tall Christmas tree. Only the timely intervention of their great and good friend, the lady from Philadelphia, can be counted on to get the Peterkins out of their latest scrape. A classic of American children’s literature and a masterpiece of deadpan drollery, The Lady from Philadelphia restores our astonishment at the ordinary, finding a rich vein of humor and happy surprise in the mere fact of our surviving the trivialities and tribulations of family life.
This book offers a fresh perspective in the debate on settler perceptions of Indigenous Australians. It draws together a suite of little known colonial women (apart from Eliza Fraser) and investigates their writings for what they reveal about their attitudes to, views on and beliefs about Aboriginal people, as presented in their published works. The way that reader expectations and publishers’ requirements slanted their representations forms part of this analysis. All six women write of their first-hand experiences on Australian frontiers of settlement. The division into ‘adventurers’ (Eliza Fraser, Eliza Davies and Emily Cowl) and longer-term ‘settlers’ (Katherine Kirkland, Mary McConnel and Rose Scott Cowen) allows interrogation into the differing representations between those with a transitory knowledge of Indigenous people and those who had a close and more permanent relationship with Indigenous women, even encompassing individual friendship. More pertinently, the book strives to reveal the aspects, largely overlooked in colonial narratives, of Indigenous agency, authority and individuality.
Eliza is a humorous story by Barry Pain. The young Eliza and her husband are constantly getting in trouble, but only one of them seems clever enough to solve any problem. A hilarious read!
?Eliza's Wish? is the third book in the Dickey Denton series. It's the story of Dickey Denton and the mystery he and his friends uncover at Rocky Neck Lighthouse and the Josiah Wheeler mansion. Spurned on by his vivid imagination and his need to discover the truth about the woman who walks the widow's walk, he seeks guidance from his grandfather. Reluctant at first to give in to Dickey's wishes, Grandpa eventually relents and suggests he seek advice from the spirit of his great-great-grandmother, Eliza Tuffett. Unsure of what to expect, he summons up his courage and decides to risk it. With the help of his friends, they embark on the adventure and their curiosity takes them back to Rocky Neck Lighthouse and to the haunted Josiah Wheeler mansion on a mysterious journey they?ll never forget.
Because gramophonic technology grew up alongside Ireland’s progressively more outspoken and violent struggles for political autonomy and national stability, Irish Modernism inherently links the gramophone to representations of these dramatic cultural upheavals. Many key works of Irish literary modernism—like those by James Joyce, Elizabeth Bowen, and Sean O’Casey—depend upon the gramophone for their ability to record Irish cultural traumas both symbolically and literally during one of the country’s most fraught developmental eras. In each work the gramophone testifies of its own complexity as a physical object and its multiform value in the artistic development of textual material. In each work, too, the object seems virtually self-placed—less an aesthetic device than a “thing” belonging primordially to the text. The machine is also often an agent and counterpart to literary characters. Thus, the gramophone points to a deeper connection between object and culture than we perceive if we consider it as only an image, enhancement, or instrument. This book examines the gramophone as an object that refuses to remain in the background of scenes in which it appears, forcing us to confront its mnemonic heritage during a period of Irish history burdened with political and cultural turbulence.