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|Edited by Kenneth L. Untiedt||University of North Texas Press|
THE GHOST LIGHTS OF MARFA by Stephanie Mateum
They only come out to play at night. They tease—bright lights that dance in the dark, flirting with the spectators that come from all corners of the world to see them perform. They mask themselves briefly in the darkness with their games of hide-and-seek, disappearing for several seconds in the night before popping back into view. They are unidentified lights, the “Ghost Lights” of Marfa, a phenomenon that appears in the Western Texas horizon with no formal announcement, no cause, no explanation. Every year, hundreds of scientists and thrill-seekers trek to Mitchell Flat, the dangerous terrain above which the lights appear, to seek the answer to the question that skeptics and believers have yet to answer: Is there life in the Marfa lights?
The lights have been described to look like many things by many different people, though they are typically described to have the shape of an orb or basketball, and the colors in which they present themselves differ depending on who you talk to. Hallie Stillwell, a former Presidio County teacher who has viewed the MarfaSee All Chapters
|Georges Clemenceau||Parkstone International|
- C’est un accident.
- Un accident que n’a pas connu le malheureux Turner.
- C’est fini. Je suis aveugle. Je n’ai plus de raison de vivre. Cependant, vous m’entendez bien, tant que je serai, vivant, je n’accepterai pas que ces panneaux sortent d’ici. Je suis arrivé à un point où je redoute mes propres critiques plus que celles des yeux les plus qualifiés. Il y a toutes les chances pour que ma tentative soit au-delà de mes forces. Eh bien, j’accepte de mourir sans savoir l’issue de la fortune qui peut m’être réservée. J’ai donné mes toiles à mon pays. Je m’en remets à lui du jugement.
III. Le Monde, l’homme, la lumière
Le sujet de l’art, aussi bien que de la connaissance humaine, est nécessairement l’univers en ses manifestations – homme compris – à exprimer par des réactions de sensibilité, comparables à celles de l’enclume sous le marteau. Des défigurations d’une imagerie religieuse, plus ou moins raffinée, nous furent longtemps offertes pour répondre aux appels simultanés de notre besoin de connaître et de nos joies d’émotivités. Voyez l’incroyable pauvreté des sujets de tableaux où s’ankylose laSee All Chapters
|McKinnon, Neil||Thistledown Press||ePub|
I BELIEVE PERSONAL STORIES ARE LIKE LEVERS. We use them to pry our lives into alignment with the world’s expectations. We all need stories. Can you feature a person without one? She would have no identity — no face to show the world.
Adriana’s story reveals many faces. In the time that we have been neighbours she has confided numerous details of her life although she wishes them kept private. I will now pass them to you exactly as she told them to me.
Although she is not as old as I, Adriana too would face severe drought if the only water left was that yet to flow under her bridge. She began life in an itinerant fashion, born into a carnival family where her father was a trick rider and her mother a tamer of big cats. She has carried the characteristics of these parental occupations into later life. Much of her time is spent trying to either trick or tame me.
Her childhood and youth were spent performing for audiences in every part of the country. While her parents were fine citizens they had little time for her as she was growing up. Sideshow performers became her family and her teachers. She has fond memories of Esmeralda, the two-headed lady who kept her extra head and the mirrors that went with it stored in a box under her trailer. “Each of her heads had different personalities,” Adriana recalls. “When I was small I marvelled at how unalike they were. The head in the box was pale with yellow teeth and mousy grey hair. It wore no makeup and never spoke. When performing it sipped water from a glass while Esmeralda’s other head, covered in rouge and bright lipstick, smoked cigarettes and talked to the audience. That head was loud, swore a lot, and frequently drank whiskey.”See All Chapters
|M. Egle Laufer||Karnac Books||ePub|
In our assessment and treatment of seriously disturbed adolescents, we became aware that the study of masturbation and change in body image holds important clues to the meaning of sudden and severe disruptions in development at puberty. Such disruptions, which we have referred to as developmental breakdown, mean an interference in the integration of the sexual body image during adolescence and the likely move to established psychopathology by the end of adolescence. We felt that such a study might also yield insight into some of the critical differences between those adolescents whose development proceeds normally and those whose development does not.
Many writers, beginning with Freud (1923), have described the critical place of the relationship to one’s own body in the development of the mental apparatus. They have also stressed the close link between the body image and the development of ego functions, in particular, perception and reality testing— two functions that are commonly impaired in adolescents who have experienced a developmental breakdown (Bak 1939; Bios 1967; Federn 1952; Freud 1923; Greenacre 1953; Hoffer 1950; Jacobson 1964; Mahler 1963; Peto 1959; Schilder 1935; Winni-cott 1953).See All Chapters
The REALbasic language provides several irreducible types of data; this chapter describes them. Some of these datatypes are scalars; all of REALbasics scalar types are dealt with here. Others are classes, but are distinguishable as being neither features of the interface (dealt with in Part II) nor means of communicating with the world beyond your application (dealt with in Part III). Threads are not usually considered a form of datafunctionally, they have to do with the flow of executionbut they are a fundamental feature of the REALbasic language, like datatypes, so they have ended up in this chapter as well.
is a scalar datatype
that can have one of just two values:
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