Addicts in Wonderland is a true story about cocaine addiction. It is framed around the classic tale Alice in Wonderland, with one significant difference. The people and events are real; there is no fiction. The story also fits no stereotype about addiction or "addicts."

The reader will be shaken by the addictive supremacy of cocaine and helped to understand the destructiveness of fear, the addictive personality, the draw of life on the street, modern treatment strategies, why traditional God concepts fail so many and the power behind words and intention.

The account details how one man's struggle has led to strategies that can modernize and enhance the way in which the Alcoholics Anonymous (AA) "12 Step" philosophy is used in the addiction recovery world.

While the 12 Steps are based on some solid principles, for many they are not enough. Recovery gets stale or progress is hindered and the participants remain crippled by financial, relationship, emotional and spiritual issues - in spite of lengthy sobriety.

This reality has guided the development of a "new" set of "quantum thought" concepts, built on centuries old eastern philosophy and decades old western theory. In other words, new thinking from old wisdom.

With very specific detail, the book explains these quantum concepts, describes how they can be applied to the 12 Steps and then demonstrates how "Twelve Steppers" have enriched their recovery experience by becoming "Next Steppers," allowing them to move well beyond recovery to a new world of discovery. Quantum thought: A term derived from quantum physics where the universe is defined as a field where all parts have a relationship with other parts. This means that we can change a part by redefining our relationship with it. In other words, if something can be imagined in a quantum universe it can be real. Thoughts become things.

R. J. Mitchell at Supermarine is the definitive account of the life of Britain’s best-known aeronautical engineer. Shelton calls upon unpublished letters, extensive press accounts, and updated material from his previous publications, concentrating particularly on the harsh conditions of Mitchell’s apprentice years, the precarious state of the aircraft firm he joined, and moments of good fortune of which he took advantage. He was a ‘chancer’ as well as a methodical developer of, mainly, slow flying seaplanes. Mitchell’s progress from draughtsman, with no formal training in aeronautical design, to internationally known chief designer is charted through a chronological study of his designs, revealing a formidable work ethic with a complex personality that combined ‘dreams and common sense’. It will also be shown how the success of his high-speed Schneider Trophy designs propelled him reluctantly into public attention and how his anxiety for his pilots’ safety matched an equal concern that his designs should not let down an expectant nation. Later expectations on him to produce a ‘killer fighter’ were equally daunting, and the outcome was often uncertain, but details of colleagues’ accounts highlight the essential and unique contribution of R.J.’s experience and drive to the eventual appearance of the iconic Spitfire.

For over three decades John Shelton Reed has been "minding" the South. He is the author or editor of thirteen books about the region. Despite his disclaimer concerning the formal study of Southern history, Reed has read widely and in depth about the South. His primary focus is upon Southerners' present-day culture, but he knows that one must approach the South historically in order to understand the place and its people. Why is the South so different from the rest of America? Rupert Vance, Reed's predecessor in sociology at Chapel Hill, once observed that the existence of the South is a triumph of history over geography and economics. The South has resisted being assimilated by the larger United States and has kept a personality that is distinctly its own. That is why Reed celebrates the South. The chapters in this book cover everything from great thinkers about the South Eugene D. Genovese, C. Vann Woodward, M. E. Bradford to the uniqueness of a region that was once a hotbed of racism, but has recently attracted hundreds of thousands of black people transplanted from the North. There are also chapters about Southerners who have devoted their talents to politics, soft drinks, rock and roll, and jewelry design. Reed writes with wit and Southern charm, never afraid to speak his mind, even when it comes to taking his beloved South to task. While readers may not share all his opinions, most will agree that John Shelton Reed is one of the best "South watchers" there is.

This volume provides thorough coverage of some troublesome and seldom clarified issues that affect scholars who deal with nonprint media. When is it legitimate in teaching or publishing to "quote" a visual image from television, film or printed graphics? To quote the lines from a musical lyric? Why has the long tradition of fair use for printed material, which sanctions quoting without permission, been so slow in its extension to other media? How can scholars and publishers prudently behave in an area where media corporations are uncooperative or belligerent in dealing with requests to document arguments through the inclusion of copyrighted materials? This book offers a forum where scholars, lawyers, archivists, and federal administrators of copyright law express informed viewpoints about these issues.

In 1977 a single film called Star Wars exploded on the consciousness of the world. Since then the franchise, created by George Lucas, has become a global entertainment corporation. The merchandise of the original trilogy was largely confined to toys and games, but those games have since become computerized, the toys more sophisticated, and Star Wars has moved into the multi-media environment of the twenty-first century in ways unimaginable in the long-ago world of 1977. Computer games and web sites, novels, animated television shows, as well as a new trilogy of films, have all placed Star Wars at the center of world popular culture. Finding the Force of the Star Wars Franchise brings together contributors who critically analyze the Star Wars universe from many perspectives. Topics include war, foreign policy, gender roles, spirituality and religion, toy play and adult collecting, creative fandom, race, special effects, and mythology.

For more than 60 years, Captain America served as an iconic figure in popular culture, and one of Marvel Comics' flagship characters. He represented everything good and positive about the classic American ideal - truth, strength, liberty, and an unflappable belief that justice would always prevail. When his alter ego, Steve Rogers, was assassinated by a sniper outside a federal courthouse, his death rocked the comic world and left fans and critics with numerous questions about his life and how it ended. Did he die a political casualty of the Global War on Terrorism, or was it just another Marvel marketing ploy? Had he become an anachronism in tights, or was he still a self-conscious, larger than life figure who tried to bear the full existential weight of what American military power had become? And how is his death in the Civil War series to be reconciled with his second death, in Morrell and Breitweiser's series ""The Chosen?"" This book brings such speculations into sharper focus, compiling critical essays by a wide range of authors, including art and literary scholars, professors and graduate students, historians, and ""Captain America"" writers. The range of topics discussed include the ways in which Nazi Germany was represented in ""Captain America Comics"" from the 1940s to his resurrection in the 1960s; the creation of ""Captain America"" in light of the Jewish American experience; the relationship between Captain America and Captain Britain, who was featured in a few rare UK Marvel comics; the groundbreaking partnership between Captain America and one of the first mainstream African American superheroes, The Falcon; and, the various successful and unsuccessful attempts that were made to kill Captain America before his 'real' death.

For over three decades John Shelton Reed has been "minding" the South. He is the author or editor of thirteen books about the region. Despite his disclaimer concerning the formal study of Southern history, Reed has read widely and in depth about the South. His primary focus is upon Southerners' present-day culture, but he knows that one must approach the South historically in order to understand the place and its people.

Why is the South so different from the rest of America? Rupert Vance, Reed's predecessor in sociology at Chapel Hill, once observed that the existence of the South is a triumph of history over geography and economics. The South has resisted being assimilated by the larger United States and has kept a personality that is distinctly its own. That is why Reed celebrates the South.

The chapters in this book cover everything from great thinkers about the South--Eugene D. Genovese, C. Vann Woodward, M. E. Bradford--to the uniqueness of a region that was once a hotbed of racism, but has recently attracted hundreds of thousands of black people transplanted from the North. There are also chapters about Southerners who have devoted their talents to politics, soft drinks, rock and roll, and jewelry design. Reed writes with wit and Southern charm, never afraid to speak his mind, even when it comes to taking his beloved South to task. While readers may not share all his opinions, most will agree that John Shelton Reed is one of the best "South watchers" there is.

In the years following World War I, the New Orleans French Quarter attracted artists and writers with its low rents, faded charm, and colorful street life. By the 1920s Jackson Square had become the center of a vibrant if short-lived bohemia. A young William Faulkner and his roommate William Spratling, an artist who taught at Tulane University, resided among the "artful and crafty ones of the French Quarter." In Dixie Bohemia John Shelton Reed introduces Faulkner's circle of friends -- ranging from the distinguished Sherwood Anderson to a gender-bending Mardi Gras costume designer -- and brings to life the people and places of New Orleans in the Jazz Age.

Reed begins with Faulkner and Spratling's self-published homage to their fellow bohemians, "Sherwood Anderson and Other Famous Creoles." The book contained 43 sketches of New Orleans artists, by Spratling, with captions and a short introduction by Faulkner. The title served as a rather obscure joke: Sherwood was not a Creole and neither were most of the people featured. But with Reed's commentary, these profiles serve as an entry into the world of artists and writers that dined on Decatur Street, attended masked balls, and blatantly ignored the Prohibition Act. These men and women also helped to establish New Orleans institutions such as the Double Dealer literary magazine, the Arts and Crafts Club, and Le Petit Theatre. But unlike most bohemias, the one in New Orleans existed as a whites-only affair. Though some of the bohemians were relatively progressive, and many employed African American material in their own work, few of them knew or cared about what was going on across town among the city's black intellectuals and artists.

The positive developments from this French Quarter renaissance, however, attracted attention and visitors, inspiring the historic preservation and commercial revitalization that turned the area into a tourist destination. Predictably, this gentrification drove out many of the working artists and writers who had helped revive the area. As Reed points out, one resident who identified herself as an "artist" on the 1920 federal census gave her occupation in 1930 as "saleslady, real estate," reflecting the decline of an active artistic class.

A charming and insightful glimpse into an era, Dixie Bohemia describes the writers, artists, poseurs, and hangers-on in the New Orleans art scene of the 1920s and illuminates how this dazzling world faded as quickly as it began.

John Shelton Reed's Barbecue celebrates a southern culinary tradition forged in coals and smoke. Since colonial times southerners have held barbecues to mark homecomings, reunions, and political campaigns; today barbecue signifies celebration as much as ever. In a lively and amusing style, Reed traces the history of southern barbecue from its roots in the sixteenth-century Caribbean, showing how this technique of cooking meat established itself in the coastal South and spread inland from there. He discusses how choices of meat, sauce, and cooking methods came to vary from one place to another, reflecting local environments, farming practices, and history. Reed hopes to preserve the South's barbecue traditions by providing the home cook with fifty-one recipes for many classic varieties of barbecue and for the side dishes, breads, and desserts that usually go with it. Featured meats range from Pan-Southern Pork Shoulder to Barbecued Chicken Two Ways to West Texas Beef Ribs, while rubs and sauces include Memphis Pork Rub, Piedmont Dip, and Lone Star Sauce and Mop. Cornbread, hushpuppies, and slaw are featured side dishes, and Dori's Peach Cobbler and Pig-Pickin' Cake provide a sweet finish. This book will put southerners in touch with their heritage and let those who aren't southerners pretend that they are.

This is a reproduction of a book published before 1923. 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. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ The University Of Virginia: Glimpses Of Its Past And Present ... John Shelton Patton, Sallie J. Doswell J.P. Bell, 1900 Biography & Autobiography; Presidents & Heads of State; Biography & Autobiography / Presidents & Heads of State; Education / Higher

Addicts in Wonderland is a true story about cocaine addiction. It is framed around the classic tale Alice in Wonderland, with one significant difference. The people and events are real; there is no fiction. The story also fits no stereotype about addiction or "addicts."

The reader will be shaken by the addictive supremacy of cocaine and helped to understand the destructiveness of fear, the addictive personality, the draw of life on the street, modern treatment strategies, why traditional God concepts fail so many and the power behind words and intention.

The account details how one man's struggle has led to strategies that can modernize and enhance the way in which the Alcoholics Anonymous (AA) "12 Step" philosophy is used in the addiction recovery world.

While the 12 Steps are based on some solid principles, for many they are not enough. Recovery gets stale or progress is hindered and the participants remain crippled by financial, relationship, emotional and spiritual issues - in spite of lengthy sobriety.

This reality has guided the development of a "new" set of "quantum thought" concepts, built on centuries old eastern philosophy and decades old western theory. In other words, new thinking from old wisdom.

With very specific detail, the book explains these quantum concepts, describes how they can be applied to the 12 Steps and then demonstrates how "Twelve Steppers" have enriched their recovery experience by becoming "Next Steppers," allowing them to move well beyond recovery to a new world of discovery. Quantum thought: A term derived from quantum physics where the universe is defined as a field where all parts have a relationship with other parts. This means that we can change a part by redefining our relationship with it. In other words, if something can be imagined in a quantum universe it can be real. Thoughts become things.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

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.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

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.