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Due to a Death (Paperback)
Mary Kelly; Introduction by Martin Edwards
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"Her writing is moment by moment intense, and successful as such...
What propels the reader through the pages is not the tug of 'who
done it' nor the excitement of men with guns coming through doors,
but the sheer excellence of the writing." - H.R.F. Keating A car
speeds down a road between miles of marshes and estuary flats, its
passenger a young woman named Agnes, fresh from a discovery that
has turned her world turned upside down. Meanwhile, the news of a
body found on the marsh is spreading round the local area, panic
following in its wake. A masterpiece of suspense, Mary Kelly's 1962
novel follows Agnes as she casts her mind back through the past few
days to find the links between her husband, his friends, a
mysterious stranger new to the village and a case of unexplained
death. Gripping, intelligent and affecting, Due to a Death was
nominated for the Gold Dagger Award and showcases the author's
versatility and willingness to push the boundaries of the mystery
genre.
Over 65 million years ago fragments from an unknown comet struck
the Earth and annihilated the entire species of dinosaurs. Over
1200 years ago pieces of an unknown comet struck the earth and sent
the world into the Dark Ages.Now that comet is back to deliver
another destructive blow to mankind. Devil's Comet return has
resurrected a powerful demon whose sole mission is to recruit
enough souls to help him open the doorway to Hell.With time running
out, the fate of the world lies in the hands of eight people that
must learn to put aside their differences and work together to
prevent the End of Days.Now hold on and Brace For Impact!!!!
These journal entries comprise two volumes of selections
(1973-1982, 1983-2003). Volume I includes an Introduction and some
biographical memories.
As Stephane Mallarme considered literature the antithesis of
journalism, a journal is often the antithesis of a diary. It is of
less interest to record moods and events, or barriers to
self-realization, than to have ideas and insights about these. As a
journal-keeper, I am generally disinterested in diurnal details,
unless these form the compost of deeper exploration or revelation,
seeking insight into my condition, not simply its description.
A journal, therefore, is often more complex and difficult than a
diary, far less personal in depictions of daily fortune, using
everyday experiences as a stepstool (at the least) to peer beyond
the walls of psychological enclosure. I did not choose the journal
form to mask the personal, to belittle or avoid it, but to reflect
my most intimate assessment of the personal as contributing to
something greater: comprehension.
It is not enough merely to record the frustrations, joys or
barriers of living, without appraising these for what they
represent and suggest, where we learn not merely reiterate. The
ideal criteria of selection and discrimination apply not only to
ones journal, but to life as well, adding a mythological drama and
perspective that immersion alone does not permit.
In some ways, journalizing is similar in impulse to the pastoral
ethos or motif familiar in contemplative writing from Virgil to
Thoreau: one withdraws from active society, toward natural or rural
settings, in search of some form of respite, then returns to tell
of their discoveries. Some critics have seen this as the organizing
design of most North American fables--in fact, as the American
mythology, seeking to heal the serious schism between our natural
psyche and its more devastated environment; that is, a search for a
middle ground (or via media) between the primitive and the
technologically complex.
This volume of journal selections resembles that motif, focusing
on the withdrawal phase of a generally recuperative metaphysical
cycle. Such solitude is intentional, a critical phase in the
live/withdraw/live-again cycle of spiritual refreshment. A
recuperative isolation can be experienced daily, if one is
discriminating in how their time is spent, but is usually gained
more intensely over long, purposefully reclusive periods.
The motivations for my withdrawal were several, perhaps the
strongest a propensity (as described of another Irish writer) for
being nearly overcome by the variety of life. If not overcome,
certainly fatigued by events in and of themselves. A reflective
silence seemed essential to examine the roots of this propensity.
An ideal of pure time, free of most distractions (human or
otherwise), was also necessary for writing of the sort that
interested me, the personally contemplative or mystical. Only
through such reflection could I ever achieve a meaningful
connection with the more active life that surrounded me.
The predominant experience of solitude--especially in a society
where the value of withdrawal is suspect or sporadic--is the
figurative isolation one experiences throughout the entire cycle of
withdrawal and re-emergence. It is generally difficult for lovers
of action to comprehend this attraction to non-doing. One of the
aims of solitude is to reunite philosophy and religion, or rather
philosophy and awe, to not accept the social impoverishment of
these universal needs for knowledge and worship.
The asceticism of retreat was not solely the traditional and
philosophical appeal of simplicity, but the freedom from
income-producing and time-consuming work it permitted. For the
solitary, however, an ideal of pure time must be united with an
ideal of intimate association, if the mystical quest is to be
emotionally as well as spiritually and intellectua
These journal entries comprise two volumes of selections
(1973-1982, 1982-1988). Volume I includes an Introduction and some
biographical memories. As Stephane Mallarme considered literature
the antithesis of journalism, a journal is often the antithesis of
a diary. It is of less interest to record moods and events, or
barriers to self-realization, than to have ideas and insights about
these. As a journal-keeper, I am generally disinterested in diurnal
details, unless these form the compost of deeper exploration or
revelation, seeking insight into my condition, not simply its
description. A journal, therefore, is often more complex and
difficult than a diary, far less personal in depictions of daily
fortune, using everyday experiences as a stepstool (at the least)
to peer beyond the walls of psychological enclosure. I did not
choose the journal form to mask the personal, to belittle or avoid
it, but to reflect my most intimate assessment of the personal as
contributing to something greater: comprehension. It is not enough
merely to record the frustrations, joys or barriers of living,
without appraising these for what they represent and suggest, where
we learn not merely reiterate. The ideal criteria of selection and
discrimination apply not only to one's journal, but to life as
well, adding a mythological drama and perspective that immersion
alone does not permit. In some ways, journalizing is similar in
impulse to the pastoral ethos or motif familiar in contemplative
writing from Virgil to Thoreau: one withdraws from active society,
toward natural or rural settings, in search of some form of
respite, then returns to tell of their discoveries. Some critics
have seen this as the organizing design of most North American
fables--in fact, as the American mythology, seeking to heal the
serious schism between our natural psyche and its more devastated
environment; that is, a search for a middle ground (or via media)
between the primitive and the technologically complex. This volume
of journal selections resembles that motif, focusing on the
withdrawal phase of a generally recuperative metaphysical cycle.
Such solitude is intentional, a critical phase in the
live/withdraw/live-again cycle of spiritual refreshment. A
recuperative isolation can be experienced daily, if one is
discriminating in how their time is spent, but is usually gained
more intensely over long, purposefully reclusive periods. The
motivations for my withdrawal were several, perhaps the strongest a
propensity (as described of another Irish writer) for being nearly
overcome by the variety of life. If not overcome, certainly
fatigued by events in and of themselves. A reflective silence
seemed essential to examine the roots of this propensity. An ideal
of pure time, free of most distractions (human or otherwise), was
also necessary for writing of the sort that interested me, the
personally contemplative or mystical. Only through such reflection
could I ever achieve a meaningful connection with the more active
life that surrounded me. The predominant experience of
solitude--especially in a society where the value of withdrawal is
suspect or sporadic--is the figurative isolation one experiences
throughout the entire cycle of withdrawal and re-emergence. It is
generally difficult for lovers of action to comprehend this
attraction to non-doing. One of the aims of solitude is to reunite
philosophy and religion, or rather philosophy and awe, to not
accept the social impoverishment of these universal needs for
knowledge and worship. The asceticism of retreat was not solely the
traditional and philosophical appeal of simplicity, but the freedom
from income-producing and time-consuming work it permitted. For the
solitary, however, an ideal of pure time must be united with an
ideal of intimate association, if the mystical quest is to be
emotionally as well as spiritually and intellectually fulfilling.
This search for integrality encompasses the richness o
Ireland's Great Famine in Irish-American History: Enshrining a
Fateful Memory offers a new, concise interpretation of the history
of the Irish in America. Author and distinguished professor Mary
Kelly's book is the first synthesized volume to track Ireland's
Great Famine within America's immigrant history, and to consider
the impact of the Famine on Irish ethnic identity between the
mid-1800s and the end of the twentieth century. Moving beyond
traditional emphases on Irish-American cornerstones such as church,
party, and education, the book maps the Famine's legacy over a
century and a half of settlement and assimilation. This is the
first attempt to contextualize a painful memory that has endured
fitfully, and unquestionably, throughout Irish-American historical
experience.
Selected and introduced by Juli Carson, this book presents a
collection of essential essays, interviews, and never-before
published archival materials that trace the development of the
teaching of major artist and thinker Mary Kelly, from 1980-2017. As
an artist and a theorist, Kelly is known for her foundational
contributions to Feminism and Conceptual Art; she is also revered
for her innovative pedagogy, which has influenced countless
artists, writers and teachers within the international art
community. Her description of a feminist practice of concentric
pedagogy, centred on the artwork rather the mastery of the teacher,
radically changed teaching practice in art studios. Detailing
Kelly’s innovative pedagogical program, the essays are split into
three sections: The Method, which focuses on Kelly’s renowned
method of “ethical observation” within studio critique; The
Project, which explores her notion of what constitutes an artistic
project; and Project and Method in the Field which presents, for
the first time, a transcription of On the Passage of a Few People
though a Rather Brief Period of Time, a performative colloquy
commissioned by the Tate Modern and moderated by Kelly in 2015;
following this transcription is a portfolio of practicing artists
previously enrolled in Kelly’s Interdisciplinary Studio Area at
UCLA. Mary Kelly’s Concentric Pedagogy highlights how
contemporary studio teaching practice has been largely informed by
Kelly’s bold and innovative approach to art pedagogy, evidencing
how the intersection of teaching, artistic practice, and radical
political engagement can transform our approach to all three. It is
essential reading for students and teachers of art and design
studio practice, art history and theory, contemporary, and feminist
art.
Making a Collection Count connects the various pieces of library
collection management, such as selection, cataloguing, shelving,
circulation and weeding, and teaches readers how to gather and
analyze data from each point in a collection s life cycle.
Relationships between collections and other library services, such
as reference, programming, and technology, are also explored. The
result is a quality collection that is clean, current, relevant,
and useful, and which connects and highlights various library
services.
Offers practical applications for collection librarians and
managers who are practitioners in the field. It is more than just a
theoretical discussion of collection quality and collection
management because useful, realistic advice is offeredThis is not a
book about collection development. It is unique in that the focus
is on collection quality: making the most of a library collection
budget, performing physical inventory, and gathering/using data and
statistics about collectionsBroad, international appeal to various
library types: public, academic, school, and special"
This book is the first full-length study dedicated to French women
Orientalist artists. Mary Kelly has gathered primary documentation
relating to seventy-two women artists whose works of art can be
placed in the canon of French Orientalism between 1861 and 1956.
Bringing these artists together for the first time and presenting
close contextual analyses of works of art, attention is given to
artists’ cross-cultural interactions with painted/sculpted
representations of the Maghreb particularly in Algeria, Tunisia and
Morocco. Using an interdisciplinary ‘open platform of
discussion’ approach, Kelly builds on established theory which
places emphases on the gendered gaze. This entails a discussion on
women’s painted perspectives of and contacts with Muslim women as
well as various Maghrebi cultures and land—all the while
remaining mindful of the subject position of the French artist and
the problematic issues which can arise when discussing
European-made ‘ethnographic’ scenes. Kelly argues that French
women’s perspectives of the Maghreb differed from the male gaze
and were informed by their artistic training and social positions
in Europe. In so doing, French women’s socio-cultural modernity
is also examined. Moreover, executed between 1861 and 1956, the
works of art presented show influences of Modernism; therefore,
this book also pays close attention to progressive Realism and
Naturalism in art and the Orientalist shift into Modernist subject
matter and form. Through this research into French women
Orientalists, Kelly engages with important discussions on the
crossing view of the historical female other with the cultural
other, artistic hybridity and influence in art as well as the
postcolonial response to French activities in colonial Algeria and
the protectorates of Tunisia and Morocco. On giving focus to
women’s art and the impact of cross-cultural interchanges, this
book rethinks Orientalism in French art. This book will be of
particular interest to scholars in the history of art, gender
studies, history, and Middle Eastern and North African studies.
Ireland's Great Famine in Irish-American History: Enshrining a
Fateful Memory offers a new, concise interpretation of the history
of the Irish in America. Author and distinguished professor Mary
Kelly's book is the first synthesized volume to track Ireland's
Great Famine within America's immigrant history, and to consider
the impact of the Famine on Irish ethnic identity between the
mid-1800s and the end of the twentieth century. Moving beyond
traditional emphases on Irish-American cornerstones such as church,
party, and education, the book maps the Famine's legacy over a
century and a half of settlement and assimilation. This is the
first attempt to contextualize a painful memory that has endured
fitfully, and unquestionably, throughout Irish-American historical
experience.
This book is the first full-length study dedicated to French women
Orientalist artists. Mary Kelly has gathered primary documentation
relating to seventy-two women artists whose works of art can be
placed in the canon of French Orientalism between 1861 and 1956.
Bringing these artists together for the first time and presenting
close contextual analyses of works of art, attention is given to
artists' cross-cultural interactions with painted/sculpted
representations of the Maghreb particularly in Algeria, Tunisia and
Morocco. Using an interdisciplinary 'open platform of discussion'
approach, Kelly builds on established theory which places emphases
on the gendered gaze. This entails a discussion on women's painted
perspectives of and contacts with Muslim women as well as various
Maghrebi cultures and land-all the while remaining mindful of the
subject position of the French artist and the problematic issues
which can arise when discussing European-made 'ethnographic'
scenes. Kelly argues that French women's perspectives of the
Maghreb differed from the male gaze and were informed by their
artistic training and social positions in Europe. In so doing,
French women's socio-cultural modernity is also examined. Moreover,
executed between 1861 and 1956, the works of art presented show
influences of Modernism; therefore, this book also pays close
attention to progressive Realism and Naturalism in art and the
Orientalist shift into Modernist subject matter and form. Through
this research into French women Orientalists, Kelly engages with
important discussions on the crossing view of the historical female
other with the cultural other, artistic hybridity and influence in
art as well as the postcolonial response to French activities in
colonial Algeria and the protectorates of Tunisia and Morocco. On
giving focus to women's art and the impact of cross-cultural
interchanges, this book rethinks Orientalism in French art. This
book will be of particular interest to scholars in the history of
art, gender studies, history, and Middle Eastern and North African
studies.
Staffordshire in the 1950s. Within the clay tanks at the pottery
company Shentall's, a body has been found. Amid cries of industrial
espionage and sabotage of this leader of the pottery industry,
there is a case of bitter murder to solve for Inspector Hedley
Nicholson. Kelly's mystery won the CWA Gold Dagger Award in 1961
for its impeccable sense of place and detail, and for the emotional
weight of its central crime. The novel is part of a shift from the
cosiness of crime novels before to mysteries characterised by their
psychological interest and affecting realism. An influential
classic.
Selected and introduced by Juli Carson, this book presents a
collection of essential essays, interviews, and never-before
published archival materials that trace the development of the
teaching of major artist and thinker Mary Kelly, from 1980-2017. As
an artist and a theorist, Kelly is known for her foundational
contributions to Feminism and Conceptual Art; she is also revered
for her innovative pedagogy, which has influenced countless
artists, writers and teachers within the international art
community. Her description of a feminist practice of concentric
pedagogy, centred on the artwork rather the mastery of the teacher,
radically changed teaching practice in art studios. Detailing
Kelly’s innovative pedagogical program, the essays are split into
three sections: The Method, which focuses on Kelly’s renowned
method of “ethical observation” within studio critique; The
Project, which explores her notion of what constitutes an artistic
project; and Project and Method in the Field which presents, for
the first time, a transcription of On the Passage of a Few People
though a Rather Brief Period of Time, a performative colloquy
commissioned by the Tate Modern and moderated by Kelly in 2015;
following this transcription is a portfolio of practicing artists
previously enrolled in Kelly’s Interdisciplinary Studio Area at
UCLA. Mary Kelly’s Concentric Pedagogy highlights how
contemporary studio teaching practice has been largely informed by
Kelly’s bold and innovative approach to art pedagogy, evidencing
how the intersection of teaching, artistic practice, and radical
political engagement can transform our approach to all three.
Teens who have experienced the death of parent, grandparent, friend
or relative often find it difficult to grieve openly. When adults
who teens trust are aware of the cycle of grief, they can provide a
safe atmosphere to allow teens to experience the turmoil of the
intense and conflicting emotions in order to move towards healing.
This book is a valuable guide, helping adults connect with grieving
teens. The reader will find background information along with many
specific activities to help teens reflect upon and talk about their
particular concerns. Issues of grief are introduced through
drawing, molding clay, painting, movement, writing, listening to
music, as well as talking in pairs and as a group. In addition, new
activities incorporate the various dimensions of the grieving
process with audio-visual materials and the Internet.
The second edition of "Helping Teens Work Through Grief" provides a
more complete and updated manual for facilitators of teen grief
groups. It includes additional background information about
developmental aspects of teens, the process of grief, aspects of
trauma and its effects on teens, the value of a group, determining
the group-appropriateness of particular teens, and parental
involvement. The many details involved with beginning a group -
publicity, interviews, registration, structure, closure,
evaluation, and follow-up - are listed.
This resource provides teachers, counselors, psychologists, social
workers, hospice personnel and religious youth workers with the
necessary information to work with teens in a group setting or
support a grieving individual. In a less formal setting, "Helping
Teens Work Through Grief" could also serve as a guidefor a
concerned neighbor or family member who is in a position to help a
grieving teen on the healing journey towards wholeness.
The second edition of Helping Teens Work Through Griefprovides a
more complete and updated manual for facilitators of teen grief
groups. It includes additional background information about
developmental aspects of teens, the process of grief, aspects of
trauma and its effects on teens, the value of a group, determining
the group-appropriateness of particular teens, and parental
involvement. The many details involved with beginning a group -
publicity, interviews, registration, structure, closure,
evaluation, and follow-up - are listed.
Making a Collection Count, A Holistic Approach to Library
Collection Management, Third Edition is unique in its focus on
collection quality, including topics on making the most of a
library collection budget, performing physical inventory, and
gathering/using data and statistics about collection use. Beyond
collection development, this title looks at the entire lifecycle of
the collection and those with responsibilities at each step.
Rivers are said to be the veins, and streams the capillaries, that
carry freshwater, the scarce lifeblood of the Earth. However,
freshwaters are experiencing species extinctions at a rate faster
than any other ecosystem, and human activities are threatening our
survival through overexploiting and degrading water quality. Rivers
have been channelled, buried underground, dammed, diverted and
polluted; some so over-abstracted that their waters no longer reach
the sea. With abundant rainfall, Irish rivers are less damaged than
many of those in other countries, but most have water quality
problems that can impact the quality of our lives and economic
activities, as shortages of safe water supplies have demonstrated.
This timely book aims to raise awareness of Ireland's fantastic and
often undervalued river resource, and the importance of changing
our behaviour and policies to ensure that we keep it in a healthy
condition for its sustainable benefits, as well as protection of
its biodiversity. The book captures the expertise of 39 Irish
freshwater experts to provide an up-to-date account on the
evolution of Ireland's rivers and their flow characteristics,
biodiversity and how humans have depended on, used and abused our
rivers through time. Irish rivers include types that are rare
elsewhere in Europe and support a wide range of aquatic organisms
and processes. In Ireland's Rivers there are chapters on their
hydrology and on their animal and plant life, on crayfish, fish and
pearl mussels, and on aquatic birds and mammals, describing their
importance and the threats to their survival such as pollution and
loss of habitat. There are case studies of characteristic but
contrasting Irish rivers, the Avonmore, Burrishoole, Araglin and
the mighty Shannon, and information on invasive aquatic species.
Water quality and river management are underlying themes. Ireland's
Rivers concludes with some suggestions for ways that individuals,
households, communities and policy makers can help protect the
health and beauty of our rivers and their wildlife.
Taking Your Library Career to the Next Level: Participating,
Publishing, and Presenting helps librarians establish a brand and
name recognition in their area of expertise, suggesting how to
write winning proposals for both publication and presentation and
places to publish. In addition, it covers how to conquer fears of
public speaking and how to make presentations more dynamic. As
professional development is important in most library settings to
earn or maintain credentials, this book helps academic librarians
look for opportunities to earn tenure, also helping special
librarians look for ways to focus their training on a narrow
subject area. Regardless of their reason for looking for
professional development opportunities, librarians of all types
will find satisfaction in contributing to the profession at a
higher level. Participating in professional conversations and
decision-making that impacts others in the field, and sharing
knowledge through publishing and presenting are great ways to
become better librarians.
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