“Every football fan will enjoy this” – John Cross, Daily Mirror“Beautifully written. A book to lift the spirits.” – Ian Ladyman, Daily Mail “A heart-rending, life-affirming joy” – Charlie Connelly, bestselling author of Attention All Shipping“Reminds us what the game is really all about” – Miguel Delaney, Independent"A life-affirming tale of never losing faith in your team." – Adam Hurrey, Daily Telegraph
In 1968, fourteen-year-old Dave Roberts had a dream – to see the team he’d recently begun supporting, Bromley, play at Wembley. The trouble was that Bromley were rubbish, and when they spent the following decades far away from the pinnacle of non-league football, the dream seemed unreasonably ambitious.
But he never gave up. After all, Bromley had been there before – the proof was in the black-and-white pictures of the club’s 1949 Amateur Cup triumph which hung on the wall of the tea hut at Hayes Lane, and which Dave stared at longingly. It was enough to keep that dream alive, as the rest – fortune, success and marrying Olivia Newton-John – fell by the wayside.
But after fifty years of never losing faith despite constant disappointment, a favourable draw in the FA Trophy gave Bromley the chance to finally make Dave’s dream come true...
I'm Just Dead, I'm Not Gone chronicles Jim Dickinson's extraordinary life in the Memphis music scene of the fifties and sixties and how he went on to play with and produce a rich array of artists, including Aretha Franklin, the Rolling Stones, Ry Cooder, Duane Allman, Arlo Guthrie, and Albert King. With verve and wit, Dickinson (1941-2009) describes how his trip to Blind Lemon's grave on the Texas flatlands as a college student and how that encounter inspired his return to Memphis. Back home, he looked up Gus Cannon and Furry Lewis, began staging plays, cofounded what would become the annual Memphis Blues Festival, and started recording.The blues, Elvis, and early rock 'n' roll compelled Dickinson to reject racial barriers and spurred his contributions to the Memphis music and experimental art scene. He explains how the family yardman, WDIA, Dewey Philips, Furry Lewis, Will Shade, and Howlin' Wolf shaped him and recounts how he went on to learn his craft at Sun, Ardent, American, Muscle Shoals, and Criteria studios from master producers Sam Phillips, John Fry, Chips Moman, and Jerry Wexler.
“The book lets us see the human side of physicians—the humorous, the heartwarming—the tradition of health care in Kentucky.” —The Harrodsburg Herald
From the laughable to the laudable, Tales from Kentucky Doctors present illuminating portraits of doctors and patients, drawing stories from physicians with lifetimes of experience serving Kentucky families. Doctors recall the successes and failures that shaped their early careers. For Dr. Baretta R. Casey of Hazard, becoming a doctor was a difficult journey. Already married and with a child, Casey enrolled in college at age thirty, later completed medical school, and began a successful career as a family practitioner in the 1990s. Though patient visitations and doctors’ prescriptions are recorded on account ledgers, personal relationships and memories are not part of medical records. The section “Personal Practice” gives a glimpse of the intimate connection that doctors form with their communities. For many towns, family physicians were heroes. Dr. James S. Brashear relates the challenges of practicing in Central City, a coal mining town, recalling an incident in which he saved the lives of two miners. Handed down to Montell in the oral tradition, the tales presented in this collection represent every part of the state. Personal experiences, humorous anecdotes, and local legends make it a fascinating panorama of Kentucky physicians and of the communities they served.
“Abounds with interesting and amusing anecdotes about life in rural Kentucky. For those of us who grew up during these times, it brings back fond memories of good times and bad.” —Bowling Green Daily News
Parallel Lives of the Noble Greeks and Romans is a series of biographies of famous men, arranged in tandem to illuminate their common moral virtues or failings. The surviving lives, contain twenty-three pairs of biographies, each pair consisting of one Greek and one Roman, as well as four unpaired, single lives.
Plutarch was not concerned with writing histories, as such, but in exploring the influence of character, good or bad, on the lives and destinies of famous men. The first pair of lives the Epaminondas-Scipio Africanus no longer exists, and many of the remaining lives are truncated, contain obvious lacunae and/or have been tampered with by later writers.
His Life of Alexander is one of the five surviving secondary or tertiary sources about Alexander the Great and it includes anecdotes and descriptions of incidents that appear in no other source. Likewise, his portrait of Numa Pompilius, an early Roman king, also contains unique information about the early Roman calendar.
In this copy-right expired 11-volume translation from the Loeb Classical library, the order of the paired lives is rearranged to present the Greek lives in chronological order. Vol 1 presents the paired lives of Theseus and Romulus, Lycurgus and Numa, and Solon and Poplicola. (Summary adapted from Wikipedia by Karen Merline)
Jewish Book Award Finalist: “Turns the fascinating life of Avrom Goldfaden into a multi-dimensional history of the Yiddish theater’s formative years.” —Jeffery Veidinger, author of Jewish Public Culture in the Late Russian Empire In this book, Alyssa Quint focuses on the early years of the modern Yiddish theater, from roughly 1876 to 1883, through the works of one of its best-known and most colorful figures, Avrom Goldfaden. Goldfaden (né Goldenfaden, 1840-1908) was one of the first playwrights to stage a commercially viable Yiddish-language theater, first in Romania and then in Russia. Goldfaden’s work was rapidly disseminated in print and his plays were performed frequently for Jewish audiences. Sholem Aleichem considered him as a forger of a new language that “breathed the European spirit into our old jargon.” Quint uses Goldfaden’s theatrical works as a way to understand the social life of Jewish theater in Imperial Russia. Through a study of his libretti, she looks at the experiences of Russian Jewish actors, male and female, to explore connections between culture as artistic production and culture in the sense of broader social structures. Quint explores how Jewish actors who played Goldfaden’s work on stage absorbed the theater into their everyday lives. Goldfaden’s theater gives a rich view into the conduct, ideology, religion, and politics of Jews during an important moment in the history of late Imperial Russia.
A Midwesterner contemplates the view of America from a remote Icelandic village: “A pleasure to read and ponder.” —Booklist (starred review)
A Minnesotan of Icelandic ancestry, Bill Holm had traveled all over the world, gathering material for a number of rich and memorable books. Then he decided to journey to the land his family had long ago left behind for the United States, and moved into a town with one general store in a nation of a few hundred thousand people. This book recounts his time at Brimnes, his fisherman’s cottage on the shore of a creek in northern Iceland. There, he embarks on a very different life in a very different world, and from thousands of miles away, considers the fate of America—“my home, my citizenship, my burden”—in these provocative, compelling essays.
“A master storyteller.” —Los Angeles Times
“Bill Holm’s life in [this] place of spare beauty will make readers wish they had a Brimnes where they could restore their souls.” —Pioneer Press (St. Paul)
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