There is hope.You can regain control.There are brighter days ahead.Charlotte Jones knows how it feels to be exhausted all the time and too tired to even lift your head off the pillow. She's experienced first-hand the desperate, debilitating feelings of frustration, despair and sadness that so often accompany chronic fatigue. And she knows how confused, overwhelmed, and lonely you probably feel right now.So, Charlotte has written this book as her gift to you. It's a beautifully illustrated and uplifting story of hope that takes very little effort to read but will guide you on an achievable, manageable road to recovery. As you read, you'll gently uncover ideas and approaches that you can use right away to start your own journey from fatigue to freedom.The fascinating characters you'll encounter in this story will each equip you with a toolbox of powerful ideas, techniques and solutions. Through their experiences you'll discover how to manage your energy levels, understand the importance of rest and repair and start to feel empowered with the belief that recovery is not only possible, but entirely in your hands.There's no baffling science or confusing jargon, just an inspiring and motivating tale that's brimming with helpful and hopeful golden nuggets that you can collect and use to support you as you heal.So lay back, relax and read your way to a better energy and a faster recovery!Charlotte has written this book as her gift to anyone suffering from chronic fatigue. It's a beautifully illustrated and uplifting story of hope that takes very little effort to read but will guide you on an achievable, manageable road to recovery. As you read, you'll gently uncover ideas and approaches that you can use right away to start your own journey from fatigue to freedom.

Essays considering the representation and perception of hell in a variety of texts. Narratives of a descent to the underworld, of the sights to be seen and the punishments meted out there, have kept a hold on the popular imagination for millennia. The legacy from doctrinal warnings and the deep-set literary markers that identify a place of suffering and alienation continue to stimulate creative exchange and critical thinking. Such work takes risks: it braves the dark and questions the past. The contributions in this volume reflect on the exigency of hell in the stories that we tell. They consider the transfer and repurposing of motifs across genres and generational divides, and acknowledge the sustained immediacy of physical and psychological landscapes of hell. The essays span a wide chronological range and apply various contemporary critical approaches, including cognitive science, performance studies and narratology. This cross-period analysis is complemented by interviews with three creative practitioners: Jeya Ayadurai, director of "Hell's Museum" in Singapore, the actor Lisa Dwan, who is acclaimed for her dramatisation of Samuel Beckett's late works, and the writer David Almond. From ancient myth and early English sermons to mid-twentieth-century surrealism and current responses to terrorist activities and environmental damage, the literature of hell engages with issues of immediate relevance and asks its audiences to reflect on their cultural history, the meaning of social justice and the nature of embodied existence.

When Madeleine L'Engle was very small, she marvelled at the stars. They guided her throughout her life, making her feel part of a big and exciting world, even when she felt alone. They made her want to ask big questions - Why are we here? What is my place in the universe? - and let her imagination take flight. Books, too, were like stars - asking questions and proposing answers. Books kept Madeleine company, and soon, she began to write and share her own. But would other people see the wonder she found in the world?

Set in 1920's England, Airswimming is based on the true story of two women (Miss Kitson and Miss Baker), who have been incarcerated in a hospital for the "criminally insane" for having borne illegitimate children. Forgotten by their families and not released until the 1970's, Dora and Persephone adopt alter-egos, Dorph and Porph, to enact their fantasies and survive the silence of incarceration.2 women

The real represents to my perception the things that we cannot possibly not know, sooner or later, in one way or another', wrote Henry James in 1907. This description, riven with double negatives, hesitation, and uncertainty, encapsulates the epistemological difficulties of realism, for underlying its narrative and descriptive apparatus as an aesthetic mode lies a philosophical quandary. What grounds the 'real' of the realist novel? What kind of perception is required to validate the experience of reality? How does the realist novel represent the difficulty of knowing? What comes to the fore in James's account, as in so many, is how the forms of realism are constituted by a relation to unknowing, absence, and ineffability. Realism, Form, and Representation in the Edwardian Novel recovers a neglected literary history centred on the intricate relationship between fictional representation and philosophical commitment. It asks how-or if-we can conceptualize realist novels when the objects of their representational intentions are realities that might exist beyond what is empirically verifiable by sense data or analytically verifiable by logic, and are thus irreducible to conceptual schemes or linguistic practices-a formulation Charlotte Jones refers to as 'synthetic realism'. In new readings of Edwardian novels including Conrad's Nostromo and The Secret Agent, Wells's Tono-Bungay, and Ford's The Good Soldier, this volume revises and reconsiders key elements of realist novel theory-metaphor and metonymy; character interiority; the insignificant detail; omniscient narration and free indirect discourse; causal linearity-to uncover the representational strategies by which realist writers grapple with the recalcitrance of reality as a referential anchor, and seek to give form to the force, opacity, and uncertain scope of realities that may lie beyond the material. In restoring a metaphysical dimension to the realist novel's imaginary, Realism, Form, and Representation in the Edwardian Novel offers a new conceptualization of realism both within early twentieth-century literary culture and as a transhistorical mode of representation.

Jamie's adventure begins with his summer holiday at Aunt Jane's Flamingo Pink cottage and the 'Twist of a Key' in an old wooden Grandfather's Clock. He can't believe he is faced with the 'Challenge of Chime' or the doom that will come if he does not complete all the challenges ahead of him successfully. Jamie delights in meeting his new friends especially the Time-Keeper who explains how he is the 'Chosen Guest' in their Enchanted Land. The evil Time-Taker has quite a different plan and is determined to see Jamie fail his mission. He plots to take the Crown of Cogs from the Time-Keeper and will not tolerate any child getting in his way.

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

FIRST OFF I LIKE TO DEDICATE MY BOOK TO ALL MY CO-WORKERS THAT LOVES TO GET HEATED UP AFTER A LONG DAYS WORK, AND ALL THE OTHER READERS THAT JUST WANT TO FREAK. MY BOOK CONTAINS SHORT HEATED STORIES OF A PREACHER, SINGLE MOTHERS, BEST FRIENDS, GAY MEN, AND MUCH MORE THAT WILL HAVE YOU HOT AND READY FOR ANYTHING! SO IF YOU LIKE TO JUST GET DOWN RIGHT NASTY AND TAKE REVENGE IN YOUR DREAMS, YOU"LL ENJOY THIS BOOK. SO CUDDLE UP WITH SOMEONE, SOMETHING OR NO ONE AND GRAB A BOTTLE OF YOUR FAVORITE WINE AND TAKE A RIDE ON THE WILD SIDE. BELIEVE ME THERE IS NO ENDING. THE PLEASURE IS ALL YOURS. ASK YOURSELF, WOULD YOU DO THE THINGS THAT YOU IMAGINE OTHER PEOPLES DOING? WELL AFTER YOU READ PLEASURE YOU"LL DO JUST ABOUT ANYTHING! IT COULD BE WITH YOUR BEST FRIEND, HELL! JUST ADMIT IT, YOU HAVE BEEN TURNED OUT AT LEAST ONCE IN YOUR LIFE TIME. READING THIS BOOK WILL MAKE YOU REACH YOUR PEAK ON EVERY PAGE. KEEP IT REAL!!!!!!!!

Winner of the Susan Smith Blackburn Award of 2001, the Critics' Circle Best New Play Award of 2002, and the People's Choice Best New Play Award of 2002

Humble Boy is a comedy about broken vows, failed hopes, and the joys of bee-keeping.

All is not well in the Humble hive. Thirty-five-year-old Felix Humble is a Cambridge astro-physicist in search of a unified field theory. Following the sudden death of his father, Felix returns to his middle England home and his difficult and demanding mother, where he soon realizes that his search for unity must include his own chaotic home life.

Humble Boy premièred at the Royal National Theatre, London, in August of 2001 and then transferred to the Gielgud Theatre, London, in 2002.

"You know, Felix, bumblebees shouldn't be able to fly... They don't obey the laws of physics. But they fly anyway" All is not well in the Humble Hive. Thirty-five year old Felix Humble is a Cambridge astro-physicist in search of a unified field theory. Following the sudden death of his father, Felix returns to his Middle England home and his difficult and demanding mother, where he soon realizes that his search for unity must include his own chaotic home life.