43532 Chapters
Medium 9781603442015

Introduction The Living Waters of Texas

Ken W Kramer Texas A&M University Press ePub

Ken Kramer

THE power of water. As I craft these words of introduction to The Living Waters of Texas, I am actually far away from the Lone Star State—on vacation enjoying the natural beauty of Jasper and Banff national parks in the Canadian Rockies, a land defined in many ways by the sheer physical power of water. Impressive glaciers, raging waterfalls, clear mountain streams, and beautiful lakes exist throughout this incredible land. To see how the glaciers have shaped the terrain and how roaring rivers have carved their way through the land, moving immense boulders along the way, produces a sense of awe at the amazing power of nature and the water features that are often its agents of change.

Water also has the power to give and sustain life—for fish and wildlife, for the organisms on which they feed, for plants, and for humans. Indeed the life of our planet could not exist without water.

Water has a power for human beings, however, that goes far beyond its physical force and its life-sustaining qualities. Water has the power to fascinate us, to excite and entertain us, to inflame our passions, and to inspire us to action. For many of us, myself included, there is no more intriguing topic than water. Indeed our efforts to describe it, manage it, protect it, enjoy it, and celebrate it have often defined our very lives.

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Medium 9781855751774

CHAPTER ONE. To talk or not to talk

Griffiths, Peter Karnac Books ePub

Why talk?

Books on death and dying commonly emphasize the necessity for families of the dying to talk about the impending death with each other. Advice is given to families and professionals to talk openly with the dying rather than indulge in a “mutual pretence” that he or she is not going to die. It is commonly suggested that this “mutual pretence” is associated with a poor dying outcome—for example, a painful or unhappy death for the dying person, in some cases involving a physical or emotional struggle. People who are able to talk openly and freely about their death are deemed more likely to have a “peaceful” death. Links are also made between the bereaved person’s failure to talk about the death, his or her “denial” of the loss, and a poor prognosis for resolution of the grieving process. Experts in the field argue that a satisfactory resolution of bereavement involves “working through” the loss, which requires talking about it in order to “make the loss real”, “saying goodbye” to the deceased, “letting go”, and thereby being able to “move on” (Worden, 1991).

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Medium 9780253012470

6 An Unsightly Vision

Sean Metzger Indiana University Press ePub

The most commercially successful musical to foreground the Sino/American interface during the twentieth century, Richard Rodgers and Oscar Hammerstein’s Flower Drum Song (Gene Kelly, 1958), extended far beyond its respectable Broadway run of 600 performances. During four months of 1961 alone, the tour included Des Moines, Omaha, St. Paul, Milwaukee, Cincinnati, Indianapolis, Rochester, Toronto, Pittsburgh, and Philadelphia.1 Like The World of Suzie Wong, the show owed its success in part to its iteration across media platforms including novel, stage, and film. Both works also showcased purportedly Chinese costumes on stage when Asian motifs dominated the Great White Way. No period in the history of Broadway saw as many productions with Asian/American settings and characters as the late 1950s. As one actress put it blithely, “if you aren’t slant-eyed and flat-chested . . . you haven’t a prayer of getting a job.”2 The New York Times estimated that two hundred Asian roles were available in New York and road companies for no less than half a dozen different shows, including The World of Suzie Wong, Flower Drum Song, Rashomon (in which white actors were cast in yellowface), and A Majority of One.3 Of these, Flower Drum Song had parts for at least sixteen principals and twenty-one chorus members.4 As I have suggested above, such theatrical productions brought new fashions to the public eye, activating the skein of race and directing new attention toward a specifically Sino/American interface. Flower Drum Song and The World of Suzie Wong especially caught the media’s attention as dramas with large casts and budgets to match. Indeed, “before Suzie’s costume designer Dorothy Jeakins ever laid out a hemline, she imported coolie suits from Hong Kong, even interviewed newsmen who had lived in the Orient and were ‘more or less familiar with brothels.’”5 But it was the musical—with its emphasis on spectacle and its easy translation into even more distribution formats, including film, television, and radio—that seemed to generate the most fervor. The stage production included a recording star (Pat Suzuki), three successful film actors (the recent Oscar winner Miyoshi Umeki; the stage and screen icon Juanita Hall, in a role originally slated for Anna May Wong; and Key Luke, who played Charlie Chan’s number one son), and a well-known American comedian (Larry Blyden). The production provides a source rich in contradictions that evinces shifts in the skein of race around the moment of the Mao suit’s emergence.

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Medium 9781942496397

Appendix B: Completed Diagram for Classifying Quadrilaterals

Juli K. Dixon Solution Tree Press ePub
Medium 9781576751732

The Story Behind the Story

Gallagher, BJ Berrett-Koehler Publishers PDF

The Story Behind the Story

“How did you come up with the metaphor for your story?” people often ask. “The peacock in the Land of Penguins is so perfect — how did you think of it?”

The answer is very simple: I lived it. I was working at a large metropolitan newspaper in the late 1980s and early

’90s; we held regular meetings of the executive and middle-management groups to review circulation figures, assess advertising revenues, and plan new goals. These meetings were always the same: The president with all his vice presidents and directors would sit in the front row in the elegant auditorium, and the publisher would begin the meeting by introducing each of them. One by one, they would pop up out of their chairs and turn to face the 200 middle managers in the rows behind them. They all wore dark suits, white shirts, and business ties; they were all about the same height, save one or two tall ones; and all but one were white males (the lone female penguin wore a dark suit and pearls). By all appearances, you would think they all went to the same barber and the same tailor!

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