Are you looking for natural remedies to help manage your arthritis symptoms? Emily Johnson, the founder of Arthritis Foodie, has written the ultimate guide to living well with arthritis. After a five year battle with the condition, Emily embarked on a journey of healing - with food, exercise and healthy living - and now with her debut book she puts us on the path to taking back control of our own bodies. Beat Arthritis Naturally shares Emily's top tips and tricks for managing symptoms, along with quick exercise sequences and delicious recipes made with unprocessed whole foods, such as Cajun Salmon Burgers, Warming Parsnip Soup and Bright Blueberry Muffins. Emily delves into a variety of topics to help you naturally feel better, including: - Healthy delicious recipes - Key anti-inflammatory foods and potential inflammatory foods - Pain management - The importance of sleep - Mindset and how to think more positively Combining Emily's own challenges with seronegative arthritis and backed-up expert advice from leading therapists and rheumatologists, Beat Arthritis Naturally will give you the confidence you need to live a healthier and happier life. 'Emily has compiled a fantastic book full of useful and scientifically robust information about how lifestyle and food can help with this debilitating group of conditions. Most people resort to medications alone, when actually we know just how impactful lifestyle can be. Emily is banging the drum for arthritis patients everywhere and this is a must read for anyone suffering alone and looking to improve their wellbeing holistically.' - Dr Rupy Aujla, MBBS, BSc, MRCGP, Founder Doctor's Kitchen
Writing the Natural Way, first published fifteen years ago, has shown hundreds of thousands of readers how to turn the task of writing into the joy of writing. Completely revised, newly illustrated, and with a wealth of updated, field-tested exercises, this popular classic will help unlock natural writing styles and storytelling abilities.
This is not a hoax. Jim Theis was a real person, who wrote The Eye of Argon in all seriousness as a teenager, and published it in a fanzine, Osfan in 1970. But the story did not pass into the oblivion that awaits most amateur fiction. Instead, a miracle happened, and transcribed and photocopied texts began to circulate in science fiction circles, gaining a wide and incredulous audience among both professionals and fans. It became the ultimate samizdat, an underground classic, and for more than thirty years it has been the subject of midnight readings at conventions, as thousands have come to appreciate the negative genius of this amazing Ed Wood of prose.
Each year writers and editors submit over three thousand grammar and style questions to the Q&A page at The Chicago Manual of Style Online. Some are arcane, some simply hilarious—and one editor, Carol Fisher Saller, reads every single one of them. All too often she notes a classic author-editor standoff, wherein both parties refuse to compromise on the "rights" and "wrongs" of prose styling: "This author is giving me a fit." "I wish that I could just DEMAND the use of the serial comma at all times." "My author wants his preface to come at the end of the book. This just seems ridiculous to me. I mean, it’s not a post-face." In The Subversive Copy Editor, Saller casts aside this adversarial view and suggests new strategies for keeping the peace. Emphasizing habits of carefulness, transparency, and flexibility, she shows copy editors how to build an environment of trust and cooperation. One chapter takes on the difficult author; another speaks to writers themselves. Throughout, the focus is on serving the reader, even if it means breaking "rules" along the way. Saller’s own foibles and misadventures provide ample material: "I mess up all the time," she confesses. "It’s how I know things." Writers, Saller acknowledges, are only half the challenge, as copy editors can also make trouble for themselves. (Does any other book have an index entry that says "terrorists. See copy editors"?) The book includes helpful sections on e-mail etiquette, work-flow management, prioritizing, and organizing computer files. One chapter even addresses the special concerns of freelance editors. Saller’s emphasis on negotiation and flexibility will surprise many copy editors who have absorbed, along with the dos and don’ts of their stylebooks, an attitude that their way is the right way. In encouraging copy editors to banish their ignorance and disorganization, insecurities and compulsions, the Chicago Q&A presents itself as a kind of alter ego to the comparatively staid Manual of Style. In The Subversive Copy Editor, Saller continues her mission with audacity and good humor.
Is time a natural reality that social symbols such as clocks and calendars merely contingently represent? Lateness protocols seemingly exhibit such contingency, for not all cultures regulate synchronization identically. Just as social/cultural time structures are interpreted to diverge from time’s natural rhythm, body modifications are often presented as social productions that divert human bodies from their naturally originated, corporeal temporality. A similar separation informs climate change discourses, supposing a natural rhythm that industrialized culture has invaded, the effects of which humans might be too late to arrest. Interrogating this conceptual separation matters, given that if certain times are considered to be more natural than others, a situated politics emerges regarding the associated cultural structures. Furthermore, our personal investments in experiences of lateness, which are embedded within social time, seemingly contradict the constructionist impression that social time is merely a contingent misrepresentation of what time actually is. Through Derridian deconstruction, Merleau-Pontian phenomenology, and Bergsonian time-philosophy, complemented with voices from fields including object oriented ontology, new materialism, and new criticism, this book re-evaluates the timing of times from a philosophical perspective.
George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times
An indispensable and distinctive book that will help anyone who wants to write, write better, or have a clearer understanding of what it means for them to be writing, from widely admired writer and teacher Verlyn Klinkenborg. Klinkenborg believes that most of our received wisdom about how writing works is not only wrong but an obstacle to our ability to write. In Several Short Sentences About Writing, he sets out to help us unlearn that “wisdom”—about genius, about creativity, about writer’s block, topic sentences, and outline—and understand that writing is just as much about thinking, noticing, and learning what it means to be involved in the act of writing. There is no gospel, no orthodoxy, no dogma in this book. Instead it is a gathering of starting points in a journey toward lively, lucid, satisfying self-expression.