In this book, John Grochowski gives his easy-to-understand insight in to how the machines work and the best strategies for attacking up-to-date variations on this casino standard. How does the player recognise a high-paying machines? How do bonuses on certain rare hands affect strategy? Does the best method of play change on new machines that have the customer playing three, four, five, 10 or even 50 hands at once? It answers more than 300 questions.
In 2001, the Advisory determined that we really wanted an anthology of delightful poems suitable for year 1 students (not as a replacement for the irreplaceable Milne or Robert Louis Stevenson, but an addition). In 2001, the oldest Advisory 'child' was 18, and there were several teen-agers besides her, all reared on CM's methods, including a diet rich in poetry. In my (Wendi's) family, we owned over 300 volumes of poetry. I asked each of my children who could write to go make me a list of favourite poems from their younger childhood days. Those who couldn't write yet could just tell me. Their lists were similar, in some cases, identical.
Not in length, of course. The 18 year old included far more on her list than the 3 year old was able to tell me about, but both of them mentioned Wynken, Blynken, and Nod and When Young Melissa Sweeps the Floor, for example. I made my own list as well, and other Advisory moms and children created theirs in their own way. My children wanted to know what Auntie Lynn's and Auntie Donna-Jean's children had chosen. There were delighted squeals of recognition and agreement whenever I passed on a poem Auntie Anne's family thought should be included. Sometimes we had a bit of tussle at our house when one of the children wasn't finished making her list, but a sibling had gotten distracted while hunting up a title and taken the very book of poetry her sibling wanted over to a cozy spot to curl up with it and just read poetry for fun. Creating our poetry anthology remains one of my fondest of many fond memories over our years of work on AO. What we have here is the result "AmblesideOnline Advisory's poetry selections for year one students," but it is more than that. This is a lovingly curated anthology of the childhood favourites of the Advisory, and Advisory children. These are not just poems, they are friends who touched our hearts, made us smile, helped us see the world in a new way, helped us give words to what we were already seeing. They are part of our family's traditions (my oldest grandson quoted The Little Turtle for me when he was 3. It had been his mother's favourite at about the same age), and part of our family language as well- snatches of poems, a line here, a line there, come out when we need that 'word fitly spoken.' We fondly, dearly, hope and believe your own children will find many friends here to love and hold dear, to reminisce over when they are grown. From our family's hearts to yours, may you have as much joy in sharing these poems with your children as we have in sharing them with you. Other features: Active TOC! Foreword with information on using the selections. Each poem given its own page.
Julie Brooks Barbour is a poet exposed, calling on the essentials: apples, air, earth, a tiny tugging mouth. She makes a home in the opposite ends of a blooming life and writes forward. Hers is the voice of the new mother calling herself back to swollen breasts and healed stitches.
Hers—the levitating voice of the quintessential poet capturing life moments that have been "left to themselves." Julie Brooks Barbour has left us humans, in need of her noticing, the greatest of portraits: the human soul seduced by what is puzzling, fleeting, always true.
From the beginning, American culture was steeped in the language of theology. The arts, in particular, were inextricably linked with religion. As author Gene Edward Veith shows in Painters of Faith, belief in the spiritual power of art provided the basis for America’s first major artistic movement, the Hudson River School. The personal faith of Thomas Cole, Asher B. Durand, Jasper Cropsey, Frederic Church, and the other Hudson River School painters inspired their transcendent landscapes. In this fascinating and beautifully illustrated work, Veith explores that faith and the crucial role it played in their artistic creations. Aesthetics, he shows, could not be separated from theology. In reconstructing the worldview of the artists as well as of much of the American public in the nineteenth century, Veith delves into the writings of Martin Luther, John Calvin, and the American Puritan preacher Jonathan Edwards to find the roots of a Protestant aesthetic. While Protestantism is not ordinarily associated with a strong artistic tradition, Veith reveals how Protestant Christianity in nineteenth-century America was indeed a catalyst for the arts. In fact, the clergy were among the most ardent promoters of the arts in the new republic, and theological journals continually carried on discussions about art. The Hudson River School artists, in particular, expressed ambitious themes, employing narrative, symbolism, and allegory to convey moral and spiritual truths. Complete with forty-two full-color illustrations, Painters of Faith is an in-depth examination of the artistic and theological context in which these painters worked—and a gripping look at the cultural development of early America.
In The Postmodern Animal, Steve Baker explores how animal imagery has been used in modern and contemporary art and performance, and in postmodern philosophy and literature, to suggest and shape ideas about identity and creativity. Baker cogently analyses the work of such European and American artists as Olly and Suzi, Mark Dion, Paula Rego and Sue Coe, at the same time looking critically at the constructions, performances and installations of Robert Rauschenberg, Louise Bourgeois, Joseph Beuys and other significant late twentieth-century artists.
Baker's book draws parallels between the animal's place in postmodern art and poststructuralist theory, drawing on works as diverse as Jacques Derrida's recent analysis of the role of animals in philosophical thought and Julian Barnes's best-selling Flaubert's Parrot.
Calistoga is a name unlike that of any other city in America, first uttered by a man who had intended to develop the "beautiful land"--or Tu-la-halusi as the land at the foot of Mount St. Helena was known to the region's native Wappo tribe--into a resort area rivaling that great eastern resort of similar geological character, Saratoga Springs, New York. During a promotional event, the developer, Samuel Brannan, was about to declare that he would make his hot springs resort community the Saratoga of California, when he transposed the names and declared he would make it the Calistoga of Sarafornia--and the town's name was born. The name resonated with locals at the time and has come to represent the pioneer spirit, optimism, and determination of those who would make their way to this secluded region of northern Napa County. Men and women have come in pursuit of their dreams--farming, bottling the local mineral water, and building a community in the spirit of early Calistoga.
A practical handbook for anyone who struggles to understand themselves and others emotionally, psychologically, and spiritually that is based on the conviction that only God really knows our hearts, the innermost parts of ourselves. Only He can show us what is true and false about our search for healing, self-affirmation, and the grace to change.