Revolver (Tabanca) itibaren içinde LIT biçim

Joyim Kim _oyim_im — Bu kitabı, servis sağlayıcılar ve gezegeni kurtarmaya çalışan diğer insanlar üzerindeki travmaya maruz kalmanın kümülatif etkisinin araştırılmasını öneriyorum. Bir sürü profil ve çizgi filmle oldukça rasyonel bir şekilde başladığı için 4 oluyor, ancak ikinci yarı bir dönüş aldı ve daha manevi oldu, bu da tavsiye etmeyi düşündüğüm bazı kişileri kaybedecekti. Ancak yine de değerli kavramlar. Ön kapakta "The Dream Keeper" dan Langston Hughes'un bir alıntısı var: "Bana tüm hayallerinizi, hayalperestlerinizi getirin, bana tüm kalp melodilerinizi getirin Onları mavi bir bulut bezine sarabilirim. nihayet başkalarının travmasına maruz kalmamın beni temel düzeyde değiştirdiğini anladım. Bir ozmoz vardı: Travmayı benim bir parçası haline gelinceye kadar emdim ve biriktirdim. ve dünyaya bakışım değişmişti. " (s 3) - "Çalıştığım alanlarda, tarihsel olarak yeterince sert ve yeterince serin ve davanıza yeterince bağlı kalırsanız, devam edeceğinize, emeceğinize dair yaygın bir inanç var. yukarı: Öz bakım zayıf küme içindir. " (s 3) - "Travma yönetimini destekleyenler hem neşenin hem de acının hayatın gerçekleri olduğuna ve büyük bir acı karşısında bile varlık kalitesi geliştirildiğinde ve sürdürüldüğünde acıların anlamlı büyüme ve iyileşmeye dönüşebileceğine inanırlar. ." (s 11) - "Hizmet rasyonu, işçilerin yeteneklerinden en iyi şekilde faydalanabilmeleri için nasıl çalışacakları ideali ile nasıl çalışabilecekleri gerçeği arasındaki günlük bölünmeyi köprülemek için geçirdikleri süreci ifade eder. , onların önünde birçok engel göz önüne alındığında. " (s 22) - "tutarlı bir şekilde adrenalin ile ne tür bir yakıtla beslenmenin nasıl bir şey olduğunu öğrendiğinizde, daha ölçülü ve doğal bir duygusal duruma geri dönmek zor. İşyerlerinin, Kendi adına eylem, insanları hareket ettirir, onları yüzeysel olarak üretken kılar ve hayatları hakkında düşünme kapasitelerini sınırlar.Bu, işçiler için bile baştan çıkarıcı hale gelir, çünkü hızlandırılmayı, krizlere katılmayı karıştırırız (bazıları yaratın) ve tamamen uyanık olmak, yaşamak ve etkili olmak için gerekli olma duygusuna sahip olmak. (s 106) - "Hepimizin yaptığı gibi, saygım için işime çok fazla güvenme riskini taşıyorum. Bu olduğunda, başkalarının acılarına ve benim için onların ihtiyacına bağımlı hissetmeye başlayabilirim kendi amacım için rahatlat. " (s 113) - "Kendimizi adrenalin, aşırı çalışma ya da sinizm konusunda uykusuz tuttuğumuzda, kendimiz ve ihtiyaçlarımız hakkında doğru bir iç ölçümüz yok." (s 131) - "İnsanların bu kontrol eksikliğini uzlaştırmak için sıklıkla yaptıkları, travmatik olaya benzer durumları yaratmak ve yeniden yaratmaktır. Bir zamanlar güçsüz hissettiğimiz travmatik bir durumu yeniye dönüştürmek istiyoruz. Kendimizi yetkin ve sorumlu hissettiğimiz bir durum. Kendimize bu sefer farklı bir sonuç çıkacağını söylüyoruz ya da umarız. " (s 156) - "... öz benliğiniz iş için yaptığınız şey değil. 13. yüzyıl Fars hukukçusu, ilahiyatçı ve şair olan Rumi," Kendinizi daha güçlü bir şekilde çekerek sessizce çekilsin gerçekten aşk. "(s 181) -" Ayrıca, arada sırada gidip biraz rahatlamak da çok iyi bir plan, çünkü işe geri döndüğünüzde, kararınız daha da artacaktır, çünkü sürekli kalmak iş yerinde yargı gücünüzü kaybetmenize neden olur. Ayrıca biraz uzaklaşmak da tavsiye edilir, çünkü o zaman iş daha küçük görünür ve daha fazlası bir bakışta alınır ve çeşitli parçalarda ve nesnelerin renklerinde uyum veya oran eksikliği daha kolay görülür. "(Leonardo da Vinci, s 211) -" Öğretmenlerimiz olarak en zorlu ilişkilerimizi görmek kasvetli zamanların katlanılmasına yardımcı olabilir. Ayrıca bizi kibir ve öfkeden çok daha iyi olan alçakgönüllülük ve zarifliğe dayandırıyor. "(S 223) Bejeci Berrett-Koehler, 10 kopya veya daha fazla sipariş için miktar indirimleri sunduklarını söylüyor. 800-929-29292 veya bkp .orders @ aidcvt.com

Josephinne Id iaccesses691c — I'm loving this trilogy. It's so nice to find a new fresh fantasy author. I hope he hurry's up with the Lightbrringer books.

Andrew Richards _ndrew_ichards — The peculiarities of the last fifteen to twenty or so years means that this novel seems simultaneously very fresh, and very dated. It seems more and more likely that the world will become increasinly sinocentric over the coming years, but I'm not certain that it would—or could—happen in the way McHugh describes here. At least not in political terms—culturally, I think this is a great snapshot of how two very disparate cultures, Chinese and American, could mingle together. I thought there were some very nice touches which added depth to the narrative, such as the awkwardness of navigating the vagaries of Chinese instead of American etiquette and vice versa; McHugh also layers in one or two things casually (metabolic and genetic therapy, catastrophic climate change) which make it clear just how different a place this future is. Her world-building is really quite strong. That said, I don't think that the interludes from other characters—fliers, a young Chinese-born woman, some colonists on Mars—added much to the book. They certainly expanded our knowledge of the world in which the characters were living, but I don't think those chapters added anything to the story itself. It was space she could have devoted much more to developing Zhang's character, because while I found him an interesting and mostly sympathetic protagonist, I never found him truly engaging—kind of a reflection of the book as a whole, I think.

Neville Pinto nellspinto — Was, is, and will always be my bible. Thank you Nicole.

Gregory Van gregvandorpe — This book is just adorable. The wombat is a clever, irresistable little guy. A fun book for kids and adults alike.

Ogier Badi _ixtim — Dedication This was a re-read of a novel that I first read when I was about 14 and that has stayed fresh in my mind ever since. It was recommended to me by my cricket coach and favourite teacher, John Carr, who taught me English for five years and cemented my passion for Literature in the early 70’s. His Master’s Thesis was on Evelyn Waugh’s "Sword of Honour” Trilogy (which I’ve also read and plan to re-read). I was amused to learn from Steven Moore that one John Carr rushed out a fake version of volume 3 of "Tristram Shandy” four months before Laurence Sterne had published his own version. Long live homage and fan fiction! This review is dedicated to both John Carr’s, one a teacher and the other a shit stirrer! "Let Me Go On, and Tell My Story My Own Way” The version of the novel that I read was 528 pages long. Don’t be afraid of the perceived length. The chapters are short and easy to read, plus it’s a lot of fun, once you get into the rhythm of the writing. Like a slippery slide, the hardest part is getting on; the rest is all downhill. If you read anything about "Tristram Shandy”, you’ll discover it is full of digressions. This is only partly true. The assessment assumes that there is a path from which the author departs. It’s probably more accurate to say that he never embarks on a set path in the first place. If a line can be said to be the shortest distance between two points, Sterne never really sets out to get from A to B, or to do it efficiently or quickly. He simply sits down to tell his story his way, as if we readers were sitting across from him at a pub or smoking our pipes in front of a fireplace. He’s in no hurry, but equally importantly neither are we. He simply asks that we let him get on and tell his story his own way. Left to his own devices, he is individualistic and unconventional, and so is his novel. In Which the Author Turns a Story Into a Plot Steven Moore differentiates between a story and a plot: "The story consists of the events in a novel as they would occur in chronological order; the plot refers to the novelist’s particular arrangements of those events.” While Moore identifies the three key elements of the story, I don’t think they’re particularly important. What is most appealing is the methodology Sterne uses to convert them into a plot. For me, the most interesting aspects of the novel are the self-referential discussions of the writing of the novel and the relationship between author, work and reader. These aspects are pure metafiction, and you could argue that no author has bettered them, before or after. The Beauty of the Line (or the Line of Beauty) The prevailing view of a narrative in a traditional realistic novel is linear. In the interests of efficiency and speed (i.e., distance travelled divided by time), the plot can be described in terms of a straight line. A straight line has a mathematical and a scientific significance. However, it also has a moral, creative and social significance. A straight line does not deviate to the left or the right. If we don’t deviate, we stay on the straight and narrow. Christians say it is the right path or the path of the righteous. Cicero describes it as "an emblem of moral rectitude”. If the line is vertical, it is upright or virtuous. If something falls from its top to its bottom, it experiences a divine gravitational force. By extension, the righteous feel gravitas. Etymologically, all of these words are related: straight, direct, erect, right, upright, rectitude, righteous. The physical qualities morph into the moral and from there (via recht) into the legal. Just as the right-handed ostracise the left-handed, the straight ostracise the bent, the crooked, the digressive and the divergent. It’s this that Sterne rebels against. He never sets out to follow the straight and narrow. His goal, so long as his neck remains flexible, is to follow his nose and his gaze, wherever they might lead him. And where he goes, so does his tale. It’s our pleasure and privilege to accompany him. The Life of Beauty Sterne takes a straight line and bends or curves it. He makes it more curvaceous, until it is closer to a line of beauty in the sense meant by Hogarth in his “Analysis of Beauty”. To quote wiki: "According to this theory, S-shaped curved lines signify liveliness and activity and excite the attention of the viewer as contrasted with straight lines, parallel lines, or right-angled intersecting lines, which signify stasis, death, or inanimate objects.” Thus, Sterne’s aversion for a straight line reflects an attraction to vitality, motion and dynamism. "Tristram Shandy” is nothing if not about vitality. "So vary'd he, and of his tortuous train Curl'd many a wanton wreath, in fight of Eve, To lure her eye." Milton Of Riddles and Mysteries Sterne’s objection to the straight line is also an objection to the logical processes that appear to govern our understanding of the world. He doesn’t necessarily come across as a mystic. However, it seems that we need at least intuition to experience and enjoy the best that the world has to offer: "We live amongst riddles and mysteries - the most obvious things, which come in our way, have dark sides, which the quickest sight cannot penetrate into, and even the clearest and most exalted understandings amongst us find ourselves puzzled and at a loss in almost every cranny of nature's works.” Sterne objects to the plain, the joyless, the boring, that which lacks interest: "There is nothing more pleasing to a traveller, or more terrible to travel-writers, than a large rich plain...[that presents nothing to the eye, but one unvaried picture of plenty.]” Of Conquests and Concupiscence While form might override content in "Tristram Shandy”, it does rear its head in the last trimester of the novel, when it becomes clear that the true concern of the characters, both male and female, is sex. They are, one and all, seeking "something perhaps more than friendship, less than love,” at least to start with. In retrospect, much of the dialogue is just playful or flirtatious or "talking bawdy”, as was the case with Sterne’s predecessor, Rabelais. The ultimate goal, for a male, is to tempt a pretty woman "into a conversation with a pinch of snuff”: "Why could not a man sit down in the lap of content here, and dance and sing and say his prayers and go to heaven with this nut-brown maid?” Ironically, this was in France, which elsewhere Sterne would describe as "foutre-land”, though I confess I can’t give an accurate contemporary translation of the term. Love and lust and amours (in which the reader longs for uncle Toby to get his oats) consist of thrusts and parries, just as much as any military battle. Fortifications and defences are broken down. Seductions follow campaigns and sieges (if you’re lucky). Of the Love Between an Author and a Reader So, ultimately, Sterne seems to argue, "talking of love is making it.” If so, then you might well agree, what’s the hurry? One lover’s digression is another’s foreplay. The point is to be aligned, if not vertically, at least horizontally. Equally, the process of writing and reading follows some of the rules of attraction and love, at least to the extent that it depends on good communication and the sharing of the creative burdens between the two participants: "Writing, when properly managed, is but a different name for conversation…The truest respect which you can pay to the reader’s understanding, is to halve this matter amicably, and leave him something to imagine, in his turn, as well as yourself.” Thus, when the pleasure is equally shared, it’s possible that Tristram wasn’t necessarily complaining when he moaned, “the more I write, the more I shall have to write.” Perhaps what he really meant was that, the more I love, the more I shall have to love. If this sounds like a "fertile fancy” or mere exaggeration, then, like Sterne: "I beg the reader will assist me here...” SOUNDTRACK: Van Morrison - "Help Me" (from the live album "It's Too Late to Stop Now") https://www.youtube.com/watch?v=Kn3GW... Van Morrison - "Help Me" (Live at Montreux Jazz, 2012) https://www.youtube.com/watch?v=As03J... Sonny Boy Williamson - "Help Me" https://www.youtube.com/watch?v=QPeP3... Christelle Berthon - "Help Me" https://www.youtube.com/watch?v=-xePm... http://www.harmonica-online.com/artis...

Camilla Flores camillaflores — I didn't want to read this (because I am a huge snob), but I actually kind of enjoyed it. It had a bit of what I understood about Travels with Charlie--the need to escape, the desire to be without commitments.

Katherine Wong kitkatwong — ** spoiler alert ** I enjoyed reading this book overall more than the two-star rating would indicate, but there's a crucial plot twist towards the very end of the book that I thought depicted rape in a deeply problematic way. I think that Grossman tries to play the metaphor towards empowerment here; he's not utterly unaware of the trickiness of portraying sexual violence in a fantasy context. While the rape transforms the character who suffers it, and she ultimately becomes powerful and happy (in spite or even because of what happened to her--again, a difficult subject and stance), Grossman's treatment of this scene bothered me, and not just because it's disturbing subject matter. In fact, this scene is not disturbing enough--that's one of the problems with it. Grossman has a rollicking sense of plot (though he tends to repeat the "how do we get back to fantasyland?" approach too many times; I finally got bored by "we want to be there, but we're stuck here! Whatever shall we do?" premise). He clearly read all the same books that I did as a child, though sometimes his allusions to them are so blatant and nod-nod, wink-winky that it undermines the wittiness of the reference. Also, his characters are always (in this book as in the last book) stuck in opulent environments being bored. Whether Fillory (the magical land at the center of this tale), Venice, or Cornwall, the destinations in this novel are posh, involve the copious consumption of liquor, and the conspicuous expenditure of cash (or, in Fillory, gold). Which feels a bit yucky to be honest. Maybe he's exposing the financial fantasy at the heart of the aristocratic medievalism that characterizes modern fantasy fiction. Or maybe he's just spent a lot of time vacationing and wants to describe envy-and-drool inspiring destinations for his readers. But it made me feel a little icked out by the privileged kids here. So he tries to counterpoint it by the overachieving-girl-addicted-to-crack...I mean, magic....subplot, and while reminiscent of Dark Willow in Buffy the Vampire Slayer, this plot line, giving the backstory of Julia, the girl who did not get into the magical academy where the rest of this crew learned their arts and (witch)crafts, was way more interesting than Quentin (the protagonist's) whining. Though I will say that one thing that I liked about this postmodern parody of fantasy fiction is that it recognizes a central strain in Narnia, Lord of the Rings, and Harry Potter: namely that these books are at their heart about moody boys coming of age, whether Edmund craving Turkish delight from the White Witch, Frodo burdened by the ring, or Harry possessed by Voldemort. Ultimately, while Grossman tries to be constantly snarky (a tic that gets on my nerves because he doesn't often strike my funny bone), he is in fact writing a fantasy novel in relatively good faith here. And I like that. But I think I'm done with this series. It's ultimately more about ungainly plots than it is about compelling characters, in spite of Quentin's constant dilemmas and vacillations between arrogance and self-loathing. I did like Abigail the talking sloth. But I think I ultimately like my fantasy straight up rather than on the rocks. Also, this is so derivative! I know parody is derivative by its very nature, but at least a good third of this book felt like an inferior crib of Neil Gaiman's American Gods. (that's the problem with having read many of the same books the author has--the tendency to feel cheated of the genuine article, in spite of Grossman's impish delight in reminding you that he's copying.)

Maria Emilia _design — This is how to read this book. 1. Read/skim through to get the basics of discordianism as outlined by the Principia Discordia (i.e. the sacred chao, basic history of the Bavarian Illuminati and their purpose, fnords, discordian cycles in society, etc.) 2. The rest is essentially these principles let loose in a conspiracy theory funhouse. Read at your leisure as you will whenever you would like. Don't worry if it doesn't make sense. The whole point is that there's no difference between hallucination and "reality" and everything is permitted. Even the completely bonkers style of this book. Could very well be a permanent addition to your coffee table.

Pete Bell pbellemail005d — This is so cleverly written, and so powerfully engaging. I dreaded the ending and had to break when I saw what was coming, but this was truly masterfully done.