In 1896, Andrew McNally dreamed of Country Gentleman Estates in LaMirada, California. His dream did not come to pass as he planned, but in theearly 1950s the area developed and young families moved here from all overand found it really was a dream place to live and raise a family.In 2003 when Tony and a group of equally dedicated people started the LaMirada Blog, it soon became obvious that there were many others out therewilling to share their varied stories. When these three got together, Tony, Glenand Raymond, they realized these fantastic memories needed to be put downin print for posterity, not out there getting lost in cyberspace.Thus, Reflections from McNally's Mirror was born and you are holdingthose personal stories in your hands.
La Mirada began with a vision. Andrew McNally, of the mapmakers Rand McNally and Company, saw the beautiful rolling hills as the perfect place to grow olives and lemons and purchased 2,600 acres of land that would become the modern city it is today. Originally planned as a collection of country estates, the area attracted dairy farmers and citrus growers who operated alongside the McNally Ranch, well known for its olive oil. During the building boom after World War II, families flocked to the area, drawn by idyllic spaces like Neff Park, and voted to incorporate in 1960. Join authors Glen Cantrell and Raymond Fernandez as they share the story of a thriving La Mirada.
We call them "miracles," "remarkable coincidences," and "divine interventions." The truth is, we're not at all sure what they are. What we do know is that they happen every day to people from all walks of life, and they can't be explained. But what stories they make! Be prepared to be amazed, inspired, and comforted by these 101 true, personal stories. . Miracles, divine intervention, amazing coincidences and unexplainable, but welcome, surprises happen every day for people from all walks of life. You'll be inspired and comforted by these 101 stories that will give you hope that miracles can be part of your life, too, including: · Gina, who fell on the sidewalk and broke her engagement ring. She looked for her lost diamond for days. Half a year later, her husband’s friend tracked it into their house on his muddy work boots. · Ross, whose wife was paralyzed and unable to speak due to Parkinson’s. As she lay dying, she moved her arms and talked to him for 25 minutes, reviewing their life together, before she passed. · Brenda, who had no money to buy wood for the fireplace that was her family’s only source of heat. Minutes after she prayed for help, a boy knocked on the door offering free firewood. · Judy, who sensed someone she loved was in trouble and prayed for help. At that exact moment a mysterious police officer walked into the deli where Judy’s daughter was being robbed. · Delores, who had a premonition she should return home to her husband instead of doing errands. She found him having a stroke and got him to the hospital in time to stop it. · Richard, who died during a car accident and came back, then died again in the hospital and came back. His beloved dead grandfather sent him back both times, saying it was not his time. Chicken Soup for the Soul books are 100% made in the USA and each book includes stories from as diverse a group of writers as possible. Chicken Soup for the Soul solicits and publishes stories from the LGBTQ community and from people of all ethnicities, nationalities, and religions.
Joyce’s art is an art of idiosyncratic transformation, revision and recycling. More specifically, the work of his art lies in the act of creative transformation: the art of the paste that echoes Ezra Pound’s urge to make it new. The essays in this volume examine various modalities of the Joycean aesthetic metamorphosis: be it through the prism of Joyce engaging with other arts and artists, or through the prism of other arts and artists engaging with the Joycean aftermath. We have chosen the essays that best show the range of Joycean engagement with multiple artistic domains in a variety of media. Joyce’s art is multiform and protean: influenced by many, it influences many others.
A police detective pursues a serial killer stalking the streets of a south Chicago neighborhood and learns that what first looked to be random murders are not random at all. It’s urban Chicago circa 1995, and a street-savvy police detective, Kyle McNally, has the lead on a task force following the trail of an interstate serial killer. The investigation tracks McNally and his antagonist, appropriately tagged “Slugger,” through a maze of suspects, political conspiracies, and unconscionable human greed. Time is against McNally, and with each new victim, the heat on him from his commander increases. The story exudes a noir detective aura populated by a supporting cast of criminals, cohorts, and dark city scenes that will strike a familiar chord with crime detective story enthusiasts. With the capture, interrogation, and disappointing release of each new suspect, McNally’s frustration and desperation deepens. He must overcome the loss of two partners and his own personal demons before he can crawl inside the killer’s head and solve the case. During the investigation, he meets a feisty but attractive medical examiner, Dr. Mykel Hartley, with a reputation as a man hater. After overcoming their early dislike for each other, a relationship develops between them. But it is Dr. Hartley’s own secret past that may ultimately hold the identity of the evil genius, the Slugger.
This first book-length work on Terrence McNally shows how his decades in the theater have refined his thoughts on subjects like growing up gay in mannish, homophobic Texas, Shakespeare's legacy in contemporary drama, and the life-giving power of forgiveness. McNally believes that the ability to forgive--a challenge to even the most high-minded--confirms our humanity because the wrongs done to us usually don't deserve to be forgiven. The author shows how McNally's impeccable timing, his instinct for a good laugh line, and his preference for physical sensation and character over plot helps him reveal both what's important to his people and why his people are important. These revelations can shake up audiences while providing a great evening at the theater.
This work traces how Gothic imagination from the literature and culture of eighteenth- and nineteenth-century Europe and twentieth-century US and European film has impacted Latin American literature and film culture. Serrano argues that the Gothic has provided Latin American authors with a way to critique a number of issues, including colonization, authoritarianism, feudalism, and patriarchy. The book includes a literary history of the European Gothic to demonstrate how Latin American authors have incorporated its characteristics but also how they have broken away or inverted some elements, such as traditional plot lines, to suit their work and address a unique set of issues. The book examines both the modernistas of the nineteenth century and the avant-garde writers of the twentieth century, including Huidobro, Bombal, Rulfo, Roa Bastos, and Fuentes. Looking at the Gothic in Latin American literature and film, this book is a groundbreaking study that brings a fresh perspective to Latin American creative culture.
Arriving in New York at the tail end of what has been termed the “Golden Age” of Broadway and the start of the Off-Broadway theater movement, Terrence McNally (1938–2020) first established himself as a dramatist of the absurd and a biting social critic. He quickly recognized, however, that one is more likely to change people’s minds by first changing their hearts, and—in outrageous farces like The Ritz and It’s Only a Play—began using humor more broadly to challenge social biases. By the mid-1980s, as the emerging AIDS pandemic called into question America’s treatment of persons isolated by suffering and sickness, he became the theater’s great poet of compassion, dramatizing the urgent need of human connection and the consequences when such connections do not take place. Conversations with Terrence McNally collects nineteen interviews with the celebrated playwright. In these interviews, one hears McNally reflect on theater as the most collaborative of the arts, the economic pressures that drive the theater industry, the unique values of music and dance, and the changes in American theater over McNally’s fifty-plus year career. The winner of four competitive Tony Awards as the author of the Best Play (Love! Valour! Compassion! and Master Class) and author of the book for the Best Musical (Kiss of the Spider Woman and Ragtime), McNally holds the distinction of being one of the few writers for the American theater who excelled in straight drama as well as musical comedy. In addition, his canon extends to opera; his collaboration with composer Jake Heggie, Dead Man Walking, has proven the most successful new American opera of the last twenty-five years.
