Set in major New York City clinics, this creative, non-fiction narrative features human interest stories. Its uplifting and positive human journey through the gamut of emotions makes it a compelling page turner. Unforgettable Faces explores the bonds between a nurse practitioner and her patients, her struggle to be true to herself and her professional role, and the obstacles she encounters. Succinct, updated health information for the health- conscious consumer follows each story.
Were you "Daddy's Little Girl"? Did you share that special relationship with your Dad? Did your Dad serve in the military and not talk much about it, or perhaps not at all? You need to read these personal stories from women who grew up sometimes never hearing or knowing about their dad's service in the military/war. Never hearing names of their buddies or even knowing where they fought til after they have died. Perhaps they saw their buddy die by their side or fought in bloody battles that they wanted to forget. These are all very special stories of ordinary Dads that served and were extraordinary Dads and Soldiers. Share these women's photographs, read their own words, their own versions, no structure, just words from their own hearts and memories.
Electric Literature 25 Best Novels of 2014 Largehearted Boy Favorite Novels of 2014 "An extraordinary new literary talent."--The Daily Telegraph "In part a portrait of the artist as a young woman, this deceptively modest-seeming, astonishingly inventive novel creates an extraordinary intimacy, a sensibility so alive it quietly takes over all your senses, quivering through your nerve endings, opening your eyes and heart. Youth, from unruly student years to early motherhood and a loving marriage--and then, in the book's second half, wilder and something else altogether, the fearless, half-mad imagination of youth, I might as well call it—has rarely been so freshly, charmingly, and unforgettably portrayed. Valeria Luiselli is a masterful, entirely original writer."--Francisco Goldman In Mexico City, a young mother is writing a novel of her days as a translator living in New York. In Harlem, a translator is desperate to publish the works of Gilberto Owen, an obscure Mexican poet. And in Philadelphia, Gilberto Owen recalls his friendship with Lorca, and the young woman he saw in the windows of passing trains. Valeria Luiselli's debut signals the arrival of a major international writer and an unexpected and necessary voice in contemporary fiction. "Luiselli's haunting debut novel, about a young mother living in Mexico City who writes a novel looking back on her time spent working as a translator of obscure works at a small independent press in Harlem, erodes the concrete borders of everyday life with a beautiful, melancholy contemplation of disappearance. . . . Luiselli plays with the idea of time and identity with grace and intuition." —Publishers Weekly
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
Scientists have emphasized the innate, genetically based nature of our fascination with the human face and its almost limitless expressive capacity, all of which is represented in the art of the last six centuries. But little attention has been paid to the anomoly of the vacuous expressions of earlier facial representations. Brener attributes this change to a change in the functioning of the human brain, as well as the role of cultural factors. It is the evolution of both genes and culture that has resulted in a marked increase in the human ability to create and interpret facial expressions. The result of this has impacted human behavior.
Einstein: An Intimate Study of a Great Man, first published in 1944, recounts the personal life of physicist Albert Einstein (1879-1955). The book was written by Einstein’s son-in-law, who married his daughter Margot in Berlin in 1930. Einstein was a simple, direct man, but remains today larger-than-life, and as author Marianoff writes, “Einstein’s life is not an exciting one. It is not filled with the rush and sweep of spectacular adventures. It has none of the scope and danger of the explorer, who freezes and suffers and agonizes in his search. It is not filled with the stir and headiness of eventful, flamboyant episodes. It is not a colorful panorama of the human pilgrimage...It has no color at all except the color of greatness...It is a mighty epic journey of science—a steady, breathtaking march whose heroic altitude is of such heights that it precludes the ecstatic language so often applied to singular human endeavors...It has no thrill in it, except the thrill of having changed the tide of man’s history and created new channels for his growth...It has no drama in it, except the overpowering drama of a conquest so immeasurable that as long as man remains on earth he will have benefited by it.”
Seven years ago, a pregnant Tessa Earldon had been passionately in love with her newlywed husband. But she was told he was dead and was quickly pushed into an ill-fated marriage¿and lost her child shortly thereafter. Now divorced and on the run from her ex, when she hears footsteps one dark night, she assumes they belong to her husband. And she's right. But she's wrong about which husband is pursuing her.... Six years ago, David Oliveri¿aka Jirrah McLaren¿was about to claim his bride when her brother intercepted him, threw him in jail...and convinced Tessa that he was dead and to marry another. Now Jirrah is a free man, and he's back to get what's his¿his wife. His child. And revenge. And not necessarily in that order.
The human face was said to be rediscovered with the advent of motion pictures, in which it is often viewed as expressive locus, as figure, and even as essence of the cinema. But how has the modern, technological, mass-circulating art revealed the face in ways that are also distinct from any other medium? How has it altered our perception of this quintessential incarnation of the person? The archaic powers of masks and icons, the fashioning of the individual in the humanist portrait, the modernist anxieties of fragmentation and de-figuration--these are among the cultural precedents informing our experience in the movie theatre. Yet the moving image also offers radical new confrontations with the face: Dreyer's Passion of Joan of Arc, Donen's Funny Face, Hitchcock's The Wrong Man, Bresson's enigmatic Au hasard Balthazar, Antonioni's Screen Test, Warhol's filmic portraits of celebrity and anonymity are among the key works explored in this book. In different ways these intense encounters manifest a desire for transparency and plenitude, but--especially in post-classical cinema--they also betray a profound ambiguity that haunts the human countenance as it wavers between image and language, between what we see and what we know. The spectacular impact of the cinematic face is uncannily bound up with an opacity, a reticence. But is it not for this very reason that, like faces in the world, it still enthralls us?
