Norman Sherman's idea of fun is attending a political convention. He has been active in progressive politics since before he could vote, often as a ghostwriter and editor of speeches and books. His story describes a life working for numerous political leaders including Minnesota Governor Orville Freeman, and Minnesota senators Wendell Anderson, Walter Mondale, and Hubert Humphrey. He was press secretary to Vice President Humphrey, including during the 1968 campaign. He describes the world of politics with good humor and grace.
Norman Sherman's idea of fun is attending a political convention. He has been active in progressive politics since before he could vote, often as a ghostwriter and editor of speeches and books. His story describes a life working for numerous political leaders including Minnesota Governor Orville Freeman, and Minnesota senators Wendell Anderson, Walter Mondale, and Hubert Humphrey. He was press secretary to Vice President Humphrey, including during the 1968 campaign. He describes the world of politics with good humor and grace.
As the great musicians know, the blues is a state of mind. Cortez's blues speak of a poet who knows where she is coming from, and where she is going - an exact sense of place.
"High-population centers of enormous size are springing up in China with dizzying speed. With them comes an increased demand for migrant workers in the construction sector, factories and mines. Some 150 million people have already set out from underdeveloped provinces to earn their living in the growth centers of China. The photographer Andreas Seibert accompanied migrant workers over a period of several years in order to document their lives and work. These laborers allowed him to photograph their efforts to find a better life and a brighter future."--Back cover.
A robust and timely investigation into the political and moral fault-lines that divide Brexit Britain and Trump's America -- and how a new settlement may be achieved. Several decades of greater economic and cultural openness in the West have not benefited all our citizens. Among those who have been left behind, a populist politics of culture and identity has successfully challenged the traditional politics of Left and Right, creating a new division: between the mobile "achieved" identity of the people from Anywhere, and the marginalized, roots-based identity of the people from Somewhere. This schism accounts for the Brexit vote, the election of Donald Trump, the decline of the center-left, and the rise of populism across Europe. David Goodhart's compelling investigation of the new global politics reveals how the Somewhere backlash is a democratic response to the dominance of Anywhere interests, in everything from mass higher education to mass immigration.
Miriam Jones is an immaculately authentic woman with a great life as a pastor in Australia and a big loving family of five children and twelve grandchildren in Kenya, Africa. You would never know that unbeknownst to people and behind closed doors, this woman’s idyllic life was tainted by pain and rejection festering in her heart—a product of growing up in extreme poverty and abuse. In this heart-tugging memoir, Miriam brings to life her experience growing up in an abusive home, rejected by everyone she loved and the shame that accompanied it. The emotional weight that she carried ultimately led to a suicide attempt of her and her children. In this text, Miriam exemplifies God’s mighty hand in every season of her life, though she was unaware of who he was and how, through the odds, she thrived and became the woman God intended her to be. From Nowhere to Somewhere is a memoir about realising that your past does not define you but the calling that God has on your life that will prevail. It is a powerful story about the power of forgiveness, obedience, and complete surrender.
A look at the history of the idea of the objective journalist and how this very ideal can often be used to undercut itself. In The View from Somewhere, Lewis Raven Wallace dives deep into the history of “objectivity” in journalism and how its been used to gatekeep and silence marginalized writers as far back as Ida B. Wells. At its core, this is a book about fierce journalists who have pursued truth and transparency and sometimes been punished for it—not just by tyrannical governments but by journalistic institutions themselves. He highlights the stories of journalists who question “objectivity” with sensitivity and passion: Desmond Cole of the Toronto Star; New York Times reporter Linda Greenhouse; Pulitzer Prize-winner Rachel Kaadzi Ghansah; Peabody-winning podcaster John Biewen; Guardian correspondent Gary Younge; former Buzzfeed reporter Meredith Talusan; and many others. Wallace also shares his own experiences as a midwestern transgender journalist and activist who was fired from his job as a national reporter for public radio for speaking out against “objectivity” in coverage of Trump and white supremacy. With insightful steps through history, Wallace stresses that journalists have never been mere passive observers. Using historical and contemporary examples—from lynching in the nineteenth century to transgender issues in the twenty-first—Wallace offers a definitive critique of “objectivity” as a catchall for accurate journalism. He calls for the dismissal of this damaging mythology in order to confront the realities of institutional power, racism, and other forms of oppression and exploitation in the news industry. The View from Somewhere is a compelling rallying cry against journalist neutrality and for the validity of news told from distinctly subjective voices.
I wrote a personal story motivated by the urge to chronicle what struck me as a unique and unusual developmental social and professional life. I hope the story will interest the readers. I certainly relished the nostalgia and recollections of the past from the humble beginnings, and reaching the top with success in a manner from which the origins cannot be told or surmised. The purpose is not to glorify poverty nor encourage social upbringing in an environment devoid of parental support, but to indicate the inherent resilience of a human being. It is possible to survive and succeed despite adverse circumstances, if among other factors, one gets lucky breaks or your journey enjoys fortunate events. In my case, success was certainly almost entirely the result of lucky strokes and unexplained events which came to the rescue at the right time and in the correct manner. The morrow was miraculously shaped without concerted planning. Assistance that came from various unsolicited quarters, testified to inherent good nature of people. In many a situation similar to mine, the environment can be a fatal and destructive derailment. One had to have the ability to learn quickly and to have the potential to avoid pitfalls.
The action-packed finale to Jon Robinson's debut conspiracy thriller trilogy, Nowhere. In hiding with the mysterious Guild, Alyn, Jes and their friends learn of a way to destroy the prison called Nowhere and end the Pledge's project for good. But another, far more dangerous figure, has plans to send the country spiralling into anarchy and chaos. Will the gang be able to stop him in time, or might it already be too late...?
There’s no such thing as the middle of nowhere. Everywhere is the middle of somewhere for some living being. That was Suzanne Stryk’s mantra as she journeyed through her home state on a mission to re-create Thomas Jefferson’s Notes on the State of Virginia. The founding father’s work surveys the region’s natural history and, as one might expect from a philosopher-statesman living more than 230 years ago, is fact packed and formally written. The Middle of Somewhere takes a different approach—to interpret Virginia land and life from a contemporary perspective and an artist’s point of view. Stryk kayaks pristine swamps in river country, wanders the galleries of the Virginia Museum of Fine Arts, hikes rocky trails crisscrossing the Appalachians, and strolls the dusty streets of old coal towns. In these sacred spaces she encounters frogs, millipedes, ravens, dragonflies, sparrows, turtles, and many other species that claim a particular place as home. Weaving in historical anecdotes and personal memories, Stryk relates her encounters with all of these beings in their “somewheres.” The creatures in their habitats and the people she meets are characters in the book, a tapestry of essays, lush sketches, and ephemera. Stryk’s multimedia collages, composed of dead bugs, tourist pamphlets, road maps, pressed leaves, rusty farm equipment, animal bones, and handwritten directions, all artistically arranged over USGS topographic maps, bring the narrative to life. Stryk’s personal reflections and conversational tone make readers feel as if they are traveling across Virginia with a friend, one who is at times funny and at other times deeply reflective. As we accompany her, she challenges us to travel slowly, tread lightly, and look closely at each somewhere that defines a place.