Heart failure is the only cardiovascular disease that is increasing. The impact on the critical care environment and the health care system, as a whole, is significant from both a cost and burden to the system perspective. There are 6.5 million hospital days a year and nearly $40 billion dollars in yearly health care costs attributed to heart failure in the United States. There are more Medicare monies spent for diagnosing and treating heart failure than any other Diagnosis Related Group. There is a 24% hospital re-admission rate for this diagnosis which leads to financial implications for health care systems. The human cost is also significant. Less than half of Americans diagnosed with heart failure survive greater than 5 years. The ongoing health care needs and cost of this chronic disease takes a significant toll on patients' finances, time and quality of life. Over $2.9 billion dollars is spent annually on the pharmaceutical management of heart failure in the United States. This diagnosis is the leading cause of hospitalization for patients who are 65 years of age and older. Few health care providers in the critical care environment are not affected by heart failure on a routine basis. Caring for these patients and their families is both a challenging and yet a rewarding experience. This edition will provide critical care nurses with a comprehensive heart failure review which is essential in caring for this challenging population given the dynamic health and critical care environments.

This book provides an overview of theatre-based teaching of Shakespeare and offers a comprehensive exploration of the educational principles underpinning the practice. Through exploring how and why theatre-based practice in the classroom can open up the possibilities of Shakespeare study, it investigates how different understandings emerge from our ever-shifting experiences of language and culture. This book empowers Shakespeare educators in supporting young people, aged 15–20, to interact critically, creatively and collaboratively with the cultural inheritance of Shakespeare’s texts. Drawing on the authors’ range of scholarly experience, and practical work with organizations, including the Royal Shakespeare Company, Shakespeare’s Globe, the Folger and Shakespeare Schools Foundation, Part One engages in lively dialogue with core questions of Shakespeare’s educational and cultural positions within the classroom. Part Two is based around a series of interviews with key practitioners from a range of Shakespeare performance and education organizations, exploring the core principles and practices behind their work and how these translate into the range of resources and programmes they offer. Part Three focuses on the experiences of practicing classroom teachers, realistically reviewing the opportunities and constraints of teaching through theatre-based approaches, with contributions from a diverse set of teachers who have found success with young people in different contexts and with different challenges.

"Amy stared at the portrait dancing in front of her. She reached out to grab hold of it, steadying it. Or at least making it shake in tune with the rest of her body. The image could have almost been a mirror. But more disturbing was the fact that it looked like another picture she had. A photo. The only image she had ever had of her mother not faded by time and memory. Taken by a helpful nurse at the hospital just after Amy was born, she recognized the same features as the ones she had secretly stared at for hours after she'd been orphaned. The same red hair and green eyes sparkled back at her. Even the lone dimple on her left cheek. It was her mother. Amelia Price. And she was wanted for murder." As far as Amy Price knew, she was just a normal girl from Los Angeles. An orphan, left alone after the death of her mother years ago. Little did she know the truth of her mother's past. Nor did she know that she would soon come face to face with it. Sent back in time to the past her mother escaped, Amy must either face what her mother couldn't, or find a way back home. Though the handsome man intent on seeing justice met isn't helping any.

A Woman in Hiding Nicole Farrington's life had never been easy, but it had always been bearable. At least it had been until now. Faced with a horrible marriage her step-brother has contracted for her, she will do anything to get away. She'll run...run to anyone who might be able to help her. But running blindly down an unknown path may take her to an unexpected destination. A Man Seeking Answers Julian Huntington, Earl of Foxley, wants nothing more than to have his carefree life back. Now he is left with a title, a child, and a future that he never expected would be his. He refuses to believe his brother's death was an accident, no matter what people say. Someone killed him and Julian plans to find out who and why. Maybe then he can go on with his life...his brother's life. But will the answers he seeks be enough, or will he find love to be a worthier goal?

This book provides an overview of theatre-based teaching of Shakespeare and offers a comprehensive exploration of the educational principles underpinning the practice. Through exploring how and why theatre-based practice in the classroom can open up the possibilities of Shakespeare study, it investigates how different understandings emerge from our ever-shifting experiences of language and culture. This book empowers Shakespeare educators in supporting young people, aged 15–20, to interact critically, creatively and collaboratively with the cultural inheritance of Shakespeare’s texts. Drawing on the authors’ range of scholarly experience, and practical work with organizations, including the Royal Shakespeare Company, Shakespeare’s Globe, the Folger and Shakespeare Schools Foundation, Part One engages in lively dialogue with core questions of Shakespeare’s educational and cultural positions within the classroom. Part Two is based around a series of interviews with key practitioners from a range of Shakespeare performance and education organizations, exploring the core principles and practices behind their work and how these translate into the range of resources and programmes they offer. Part Three focuses on the experiences of practicing classroom teachers, realistically reviewing the opportunities and constraints of teaching through theatre-based approaches, with contributions from a diverse set of teachers who have found success with young people in different contexts and with different challenges.