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Eats ... (from the best and greatest - to those small little gems)
Treats ... (from massages to tattoo's)
Traumas... (for when you break your Prada heals)
Treasures ... (those really whims)
Twilight... (all the great clubs)
Tripping ... (for those with adventure on their mind)
You'll find great little sections such as best cheap manicures and diviest pubs. It's all those must haves for young woman in the BIG CITY. Great resource and really user friendly. Loved the whole feel and illustration.
Cheers!
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All too painfully true, Jane walks you through the horrors of child abuse with her three precious grandchildren.
Thank God they had her to rescue them before it was too late, as it is with too many children today!
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Sahay and Rahel, play a role in the most part of the plot. Sahay, a Christian girl, in the first place did not realized that life could get worth, but now, her uncle is rushing her through the night away from the only home she has ever known out of Ethiopia, forever. Blind Jewish as child, Rahel has always relied on her grandmother to guide her; however, her parents are sending her and her brother on a long petrify trip, with no assurance when. This illustrates that both of these girls' families wanted the two girls to live in a developed life in another place instead of Ethiopia. The Sudan soldiers sent Sahay's uncle and Rahel's brother back to Ethiopia from Sudan. When Sahay's and Rahel's paths join, they were both in a bad mood; but Sahay is disgusted to share food and water with Rahel. This shows that males could not go out of Ethiopia around 1980. Therefore, Sahay and Rahel are trying a superlative way to save each other; in addition, they want to attain their dream, which is going to Jerusalem.
One of Sahay and Rahel's external conflicts is that Sahay's uncle and Rahel's brother were sent back to Ethiopia. On page 120: Sahay said to Rahel, "Let's go to the edge of the camp everyday and we will try to find my uncle and your brother." This illustrates that both of the girls wished if the two men approached back to Sudan. It is because they are frightened, and they do not have anyone to support them in Sudan and help them survive the hazardous journey. Consequently, Sahay become Rahel's guide; however, they repeatedly go to the mountains to examine if the two men are circuitously.
One of Sahay's internal conflicts is to be friends with Rahel or not. On page 118: Sahay thought when she has nobody, even a blind Falasha (Ethiopian Jewish) girl is somebody, even though she does not like Falasha. This shows that Sahay felt being with Rahel is better than being with no one. This is because people in her family have always feared and hated Ethiopian Jewish. Consequently, Sahay started getting along with Rahel, to overcome their cultural prejudges and help each other.
The theme subject of the story is refugee. A quote that proves the theme is on page 143: they arrived to Jerusalem and saw them self that they had come to the land where for now, no matter what lay ahead, and no one was stranger. The authors comment about refugee is that refugees can accomplish a place that they can truly call home. The author's comment is true, because Rahel and Sahay accomplished a place that they can truly call home in Jerusalem. The Storyteller's Beads is a great book, and it would be recommend for anyone who want to determine some of the experiences that refugees go through.
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This is the best book on prayer I have ever seen. If you purchase only one book on prayer in thr next year, this should be it!
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\\ Richard Eastman
The Eastman Group, Inc.
www.eastmangroup.com
I highly recommend this book for anyone who is not only involved in the Human Resource field, but for those who are responsible for managing teams or for the curious among you who find the human complexities fascinating.
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In this book, you meet St-Denis, Eric Hawkins, and Merce Cunningham, and manz others, all of whom were influences on her and whom she influenced. They are fascinatingly placed in both personal and historical context.
While the content of this book is exceptional and extremely valuable, it is oddly structured, kind of a series of vignettes that are not even broken down into chapters. This was disconcerting to me and it made the thread of her narrative hard to follow at times. It was edited by Jacqueline Kennedy Onassis, opne of her last books.
I recommend it to those already interested, but not to those who are not deeply hooked on dance. This work is full of love, some pride, and the obscure tragedies of her life.
My favorite story is about the time Martha and her sister Gertie, both of whom were members of the legendary Denishawn dance school and company, were thrown off of a train. Unbeknownst to the train conductor, the Denishawn company was famous for their exotic dances. Still in costume, they had been mistaken for gypsies (this was early in the 20th century). They tried to explain to the conductor that they were dancers, but he did not listen. Before they left the train, Martha writes, "Gertie gave a savory Irish insult, 'I spit on you.'"
This book was a bible of my teen years and even inspired me to attend classes at the Martha Graham school in New York (thanks to the generous scholarship of Diane Gray), as well as considering becoming a Martha Graham dancer. I chose not to become a professional dancer, but this book still retains great memories for me. Martha's memoir initiated many other interests of mine, such as the poetry of Emily Dickinson and the curious subject of intuition - Martha wrote that often her dances came from a type of intuition, or "Blood Memory." And she quoted Emily Dickinson, "Intuition picks up the key that memory dropped."