D'autres livres qui pourraient vous intéresser

• 

  Milk

  Matthew Evans

  • 0
  • 0
  • 0

  A powerful, entertaining and, at times, eviscerating commentary on the most controversial of original superfoods. 
   
  Milk. It's in our coffee, on our cereal. We see it in processed form – yoghurt, butter, cheese, skimmed and lactose free. It's there in almond form, or made from oats or soy, and is as lauded as the 'perfect' food or lambasted as not fit for human consumption and a toxic planet killer, depending on who you trust. Which type you drink, whether you were raised on breastmilk, what you think of it, is affected by culture, biology and fashion. How you view it is driven by your gender and your politics, as well as your geography. 
   
  The miracle liquid has suffered an image problem. It has been used to keep people poor, to keep women subjugated, and to build corporate and medical careers. It's been blamed for climate change, the breakdown of human health, and an enabler of the industrial revolution. From perfect food to pariah, milk's role in life has often been debased. 
   
  Milk celebrates the majesty of this noble liquid, and delves into the pretenders to its throne, from formula to Mylk. It looks at the transformation of what a milk-producer eats into one of the most nutrient dense foods available, and how that can be transformed again into the butter, cheese and clotted cream that we know and love today. It's an exploration of the science, history and politics of what makes mammals different from every other life form on earth.

  Voir livre

• 

  Talking Down The Clock - and...

  Seamus Cashman

  • 0
  • 0
  • 0

  Talking Down The Clock is Seamus Cashman's fifth volume of poetry. It follows his 2015 ekphrastic book-length poem, The Sistine Gaze, from which this following quotation is taken: 
  "We are lovers of the earth, not its spouses bound or bought. We are siblings of the stars, sating history's well. Lovers live in beauty's orbit, bypassing time. We change words to love all over again; we mould our shadows with pigments; we make alternatives." (Verse 130, The Sistine Gaze) 
  Cashman Appreciated that TIME was the key challenge, and ventured two poetic sequences, intending to follow where they might lead. These sequences, 'Notebook Exits' and 'Daily Breaks', find time becoming a circus master and cracking the whip daily. Between these sequences are poems for young readersm and lyrics of people, places and sorrow each reflecting Palestine's endurance. 
  In his early collections there was a focis on village life and personal mythologies, the poet found 'fire crackling faggots / at my feet / I inhaled it's fragrance / and forgave myself. / I still could see.'. Now he seeks within, threading the ordinary through the abstract, linking the human via buttonholes of experience, philosophy and the uncertain, clearly enjoying what is encountered enroute. He relishes experiment, as in 'To The Naked Women In The Far Window', 'Be Still', 'Owl', 'Composition', 'Fractalities', 'Catastrophe Turnings' and others. 
  This collection's title poem is a spiral of excitement and image, leading readers through time's impositions and confusions – seeking to seize and to size it, facing the impossibility of ignoring it. We taste how to 'Just Be' as we observe time abseiling life within us to its own rhythms. 
  - 
  Audiobook recorded by Adam Shanahan, Dublin, Ireland.

  Voir livre

• 

  Tyrannosaurus Rex and...

  Editors Charles River

  • 0
  • 0
  • 0

  The massively popular 1990 novel Jurassic Park by Michael Crichton and its subsequent movie adaptations led to a huge resurgence in interest in dinosaurs and the prehistoric world. That interest continues to the present day, even though most of the dinosaurs in Jurassic Park weren’t actually from the Jurassic period. Triceratops, Velociraptor, Tyrannosaurus Rex and the huge sauropods such as Brachiosaurus that feature in the book and movies all actually belong to the Late Cretaceous period, more than 40 million years after the end of the Jurassic. Regardless, certain kinds of dinosaurs remain instantly recognizable, and among them, the “king” is undoubtedly the Tyrannosaurus.  
  The first discovery of a Tyrannosaurus was made in 1902 and the largest carnivorous dinosaur ever found at the time quickly gripped the popular imagination. Even its name was dramatic - Tyrannosaurus Rex means “King of the Tyrant Lizards.” The T-Rex as it quickly became known didn’t appear until the last age of the Late Cretaceous period, the Maastrichtian, but when it did, it was the biggest and most terrifying of all the theropod predators.  
  	Thanks to the movie, there has been some unwitting confusion over the identity of the Velociraptor, and this confusion was due in large part to the fact the name sounds far more scary than the creature to which the name originally belonged. Moreover, the creature to which the label was applied in the novel and movie was actually a distant cousin named Deinonychus, but as the story goes, the author, Michael Crichton, thought “Velociraptor” sounded “more dramatic.” The actual Velociraptor lived not in the badlands of North America, but in the badlands of central-eastern Asia, and it was not nearly as intimidating as Deinonychus. In fact, the main species of genus Velociraptor - Velociraptor mongoliensis - was no bigger than a turkey.

  Voir livre

• 

  Mr Vic’s X-Rated Television:...

  VIC VITALE

  • 0
  • 0
  • 0

  "Porn For Katie! 
  "Have a seat!" I told the unsuspecting Katie Koric while I sat in front of the monitor showing a couple engaged in hot sex.   
  Having taken the bait, Katie quickly obliged by sitting down on the bed right next to where the computer was sitting on the desk.   
  Her eyes zoomed in on that picture, then the next, and the many, many that followed.  
   

  Voir livre

• 

  Who Gets to Write Fiction? -...

  Ariel Sacks

  • 0
  • 0
  • 0

  Writing and sharing fiction allows adolescents to glimpse other lives 
   
   
   
  The current curricular emphasis on analytical writing can make it feel risky to teach creative writing in ELA classrooms. But the opportunity to write fiction in school opens many doors for young people: doors the author argues are critical to the development of our students, our education system, and even our democracy. 
   
   
   
  This book will delight English teachers weary of focusing relentlessly on argument and information writing. Veteran teacher Ariel Sacks vividly describes the many academic, social–emotional, and community-building advantages of teaching imaginative writing in the classroom, not least of which is the impact it has on equity for marginalized students. Her book is a teacher-to-teacher text that folds in detailed, practical guidance about how to design lessons and meet standards, while presenting a powerful central argument: that the writing of fiction should be treated not as a luxury for some, but as a center of the English curriculum for all students.

  Voir livre

• 

  Happy Dreams of Liberty - An...

  R. Isabela Morales

  • 0
  • 0
  • 0

  When Samuel Townsend died at his home in Madison County, Alabama, in November 1856, the fifty-two-year-old white planter left behind hundreds of slaves, thousands of acres of rich cotton land, and a net worth of approximately $200,000. In life, Samuel had done little to distinguish himself from other members of the South's elite slaveholding class. But he made a name for himself in death by leaving almost the entirety of his fortune to his five sons, four daughters, and two nieces: all of them his slaves. 
   
   
   
  In this deeply researched, movingly narrated portrait of the extended Townsend family, R. Isabela Morales reconstructs the migration of this mixed-race family across the American West and South over the second half of the nineteenth century. Searching for communities where they could exercise their newfound freedom and wealth to the fullest, members of the family homesteaded and attended college in Ohio and Kansas; fought for the Union Army in Mississippi; mined for silver in the Colorado Rockies; and, in the case of one son, returned to Alabama to purchase part of the old plantation where he had once been held as a slave. In Morales's telling, the Townsends' story maps a new landscape of opportunity and oppression, where the meanings of race and freedom—as well as opportunities for social and economic mobility—were dictated by highly local circumstances.

  Voir livre