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The "Great Recession" of 2008 has struck the United States. Calista
Snipe's family is adversely affected by the recession. Her father
loses his job as a college professor and although Calista's mother
continues to work part time, the family's income has been greatly
reduced. Now her father is faced with the probability that his
unemployment checks will cease if Congress does not vote to extend
them. When a very rare monkey, a gibbon, escapes from the local
zoo, Calista decides she will catch the gibbon and give the reward
money to her father. In her search for the escaped gibbon, Calista
enlists the help of her best friend, Skyler McCray. Skyler and
Calista joined forces when they were in fourth grade to solve the
mystery of the lost purse. Now, two years older, they believe they
are up to the task of finding and capturing Papillon, the missing
gibbon. However, the challenge of catching the little monkey soon
becomes more difficult than they had anticipated as Papillon
continually travels from one city park to another, and Cali and Sky
discover that they do not have the best of equipment to capture a
gibbon. To complicate their task, they soon discover that other
parties are interested in capturing the monkey, and these parties
are not happy to find that Cali and Sky are in the competition to
win the reward money. To Catch A Monkey explores the impact of the
2008 recession on a middle class family, peer bullying, beginning
awareness of puberty for later elementary grade children, and the
strengthening friendship between a sixth grade boy and girl.
In order to avoid a spring thunder storm, eight-year-old Calista
Snipe and Skyler McCray take a short-cut through the unkept area of
a local park. They are caught by the storm while in the middle of
Creepy Hollow, but they make two unusual discoveries. These two
discoveries soon lead the children on new adventures that will test
their creativity, their imagination, and their courage. Find out
how Calista and Skyler solve the mystery of the old purse, snare
the person who has been trapping little animals in Creepy Hollow,
discover the truth behind the man in the park, and help their
friend, Tabitha, reveal what happened to her on the day she was
kidnapped.
Having been discovered in the illicit romance with her uncle, Megan
Morgan is forced to face life without her uncle's counsel.
Initially, Megan pushes back into her many school activities to
fill the void but soon finds herself frustrated by a number of
situations. Megan's recently discovered sister-in-arms, Kelly
Simmons, now only has time for new love Ryan Royek. Megan's mother,
Kate, has also become enamored with an attorney, Gus Leone, whom
kate meets through her court-reporting endeavors. Joe Edwards, the
boy with whom Megan attended her school's Mistletoe Ball, is
sidelined from dating Megan with a sport related injury. Megan must
also find a way to deal with Harry Campbell, the counselor that
Kate has required Megan to see for ten sessions in order to acquire
insight on Megan's affair with Uncle Jack. Matters come to a head
the night of the school play. Megan becomes involved in many
bizarre activities at a clandestine post play party at the home of
the son of a wealthy plastic surgeon. New alliances formed at the
party will later prove crucial in Megan's life. She finds Paul
Ugalini, the party host, and Nadine Cortez, a young
photojournalist, both alluring and perplexing, and discovers why
Paul's precocious younger sister refers to the family bathroom as
the "great bath." On her return home, Megan is forced to accept
assistance from a person she despises and consequently encounters
two overwhelming traumatic events. Megan must draw on the help of
family and friends plus her own resources to survive and overcome
the aftermath of those events.
Kyle Cook is in tenth grade. His father died in a car accident when
Kyle was eleven. He lives with his mother and his fourteen-year-old
sister. He kicks field goals and extra points after touchdowns for
his high school football team. He also harbors, in the deep
recesses of his mind, a horrible secret of a past event. Kyle's
secret has lain dormant, its effects on him hardly noticeable to
his family and his friends until his awakening sexual interests
cause the influences of Kyle's earlier trauma to arise and become
noticeable in his behavior. Kyle's abnormal behavior threatens to
rend asunder his family's cohesion. Kyle's mother wisely involves
him in therapeutic counseling. Although his counselor may be
physically limited as she is confined to a wheel chair, her
intuition and skilled intervention with Kyle are unfettered. Kyle
soon seems on the road to recovery until one more catastrophe, the
cause rooted in Kyle's past, threatens to destroy all that he has
been able to accomplish. The author hopes that 'Points After Abuse'
will provide insight for young adults both to the effects that
trauma may have on one's behavior and to the importance of being
open when engaging in a counseling relationship in order to
maximize the benefits of that relationship. There are other novels
that deal with similar issues: like 'Speak', by Laurie Anderson,
and 'Dreamland' by Sarah Dessen. Both books feature female
protagonists. 'Points After Abuse' focuses on a male protagonist.
This volume of essays frames a comparative history of landscape
painting in Australia and the United States through recent
considerations of the Anthropocene, arguing that careful and deep
analysis of specific nineteenth-century artworks reveals issues of
environmental concern both past and present. Carefully drawn from
two symposia held at the Art Gallery of Western Australia in Perth
in 2016 and at the Ian Potter Museum of Art, University of
Melbourne the following year, the volume includes eight essays and
a conversation between artists. Colonization, Wilderness, and
Spaces Between brings together the fresh insights of scholars and
artists from Australia, the United Kingdom, and the United States
and provides a resource for thinking critically about the
historical, imperial, and environmental information that can be
gleaned from looking closely at landscape paintings.
William Molyneux's question to John Locke about whether a blind man
restored to sight could name the difference between a cube and a
sphere without touching them shaped fundamental conflicts in
philosophy, theology and science between empirical and idealist
answers that are radically alien to current ways of seeing and
feeling but were born of colonizing ambitions whose devastating
genocidal and ecocidal consequences intensify today. This Element
demonstrates how landscape paintings of unfamiliar terrains
required historical and geological subject matter to supply tactile
associations for empirical recognition of space, whereas idealism
conferred unmediated but no less coercive sensory access. Close
visual and verbal analysis using photographs of pictorial sites
trace vividly different responses to the question, from those of
William Hazlitt and John Ruskin in Britain to those of
nineteenth-century authors and artists in the United States and
Australia, including Ralph Waldo Emerson, Thomas Cole, William
Haseltine, Fitz Henry Lane and Eugene von Guerard.
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