He has bought a demon house in Indiana that has been described as a “portal to hell,” summoned the devil at the Hellfire Club in Ireland, and been attacked by a possessed doll in Mexico. But sometimes it’s his interactions with the living that rattle him the most, from innocent people harboring evil spirits to crazed fans to the victims of violent spirit attacks. Through his investigations of the world’s most haunted places, Zak has learned far more about the living and the dead than anyone should. He’s been to the edge of death and back and come away with a spiritual key that unlocks doors to another world that few have ever seen. Come along for the ride.
When I slept upstairs I would wake up and hear noises during the night. Thats when I got really scared of the dark. I was too scared to go downstairs to the bathroom so I wet the bed. I never used to wet the bed. Now I was wetting the bed all the time. What made me start doing that? I dont remember wetting the bed before this. Did Thomas and I get up and go to the bathroom in the middle of the night? Did our mom get us up and take us to the bathroom? All I knew was that I was wetting the bed every night and Thomas was making fun of me for it. I was really scared of the dark now. I dont know why I started being so afraid of the dark. What happened to make me be so afraid? This is a raw and powerful story of a woman who has suffered from multiple kinds of abuse and how it has affected every aspect of her life. She has gone through incest, childhood sexual abuse, and mental and verbal abuse. She begins by introducing you to her family and her story starts from there. She goes through her childhood, adult life, and up to the present. She is candid in the way she writes the story of her life. She tells you when and how the sexual abuse happened, how she felt about it at the time, and how it is still affecting her today. She was fifty five when she faced the abuse and started healing from the devastating effects it had on her life. She felt a need to tell her story and it took a lot of courage for her to disclose her life in such an open and honest way. Her story will give you hope and inspiration that you can heal at any age of your life.
What is political independence? As a political act, what was it sanctioned to accomplish? Is formal colonialism over, or a condition in the present, albeit mutated and evolved? In Critique of Political Decolonization, Bernard Forjwuor challenges what, in normative scholarship, has become a persistent conflation of two different concepts: political decolonization and political independence. This scholarly volume is an antinormative and critical refutation of the decolonial accomplishment of political independence or self-determination in Ghana. He argues that political independence is insufficiently a decolonial claim because it is framed within the context of a country, where a permanent colonial settlement was never deemed necessary for the consolidation of future colonial political obligations. So, while territorial dissolution was politically engineered by Ghanaians, the colonial merely reconstitutes itself in different legal and ideological forms. Forjwuor offers new methodological, theoretical, and conceptual approaches to engaging the questions of colonialism, political independence, political decolonization, justice, and freedom, and constructs multiple conceptual bridges between traditional disciplinary fields of inquiry including politics, history, law, African studies, economic history, critical theory, and philosophy and political theory. Using the Ghanaian experience as a rich case study, Forjwuor rethinks what colonialism and decolonization mean, and asserts that decolonization is primarily a question of justice.
What does it mean to be a westerner? With all the mythology that has grown up about the American West, is it even possible to describe "how it was, how it is, here, in the West—just that," in the words of Lynn Stegner? Starting with that challenge, Stegner and Russell Rowland invited several dozen members of the western literary tribe to write about living in the West and being a western writer in particular. West of 98 gathers sixty-six literary testimonies, in essays and poetry, from a stellar collection of writers who represent every state west of the 98th parallel—a kind of Greek chorus of the most prominent voices in western literature today, who seek to "characterize the West as each of us grew to know it, and, equally important, the West that is still becoming." In West of 98, western writers speak to the ways in which the West imprints itself on the people who live there, as well as how the people of the West create the personality of the region. The writers explore the western landscape—how it has been revered and abused across centuries—and the inescapable limitations its aridity puts on all dreams of conquest and development. They dismantle the boosterism of manifest destiny and the cowboy and mountain man ethos of every-man-for-himself, and show instead how we must create new narratives of cooperation if we are to survive in this spare and beautiful country. The writers seek to define the essence of both actual and metaphoric wilderness as they journey toward a West that might honestly be called home. A collective declaration not of our independence but of our interdependence with the land and with each other, West of 98 opens up a whole new panorama of the western experience.
"One of our greatest and most original living writers sets out the perils of the writing life with joyful provocation in this "anti-memoir." M. John Harrison has produced one of the greatest bodies of fiction of any living British author, encompassing space opera, speculative fiction, fantasy, and magical and literary realism. But is there even an M. John Harrison and if so, where do we find him? This is the question the author asks in this memoir-as-mystery, turning for clues to forty years of notetaking: "A note or it never happened. A note or you never looked." Are these notebooks records of failed presence? How do they shine a light on a childhood in the industrial Midlands, a portrait of a young artist in counterculture London, on an adulthood of restless escape into hill and moorland landscapes? And do they tell us anything about the writing of books, each one so different from the last that it might have been written by another version of the author? With aphoristic daring and laconic wit, this anti-memoir will fascinate and delight. It confirms M. John Harrison still further in his status as the most original British writer of his generation."--
