Life After Cancer I immediately wanted to recommAnd this book to my patients. [It]will serve as a roadmap to help cancer patients anticipate feelingsand stages of the coping process. It will help demystify thecomplex and often baffling set of experiences on the uncertain pathof cancer survivorship. --Elisabeth Targ, M.D., Geraldine Brush Cancer Research Institute,California Pacific Medical Center An intimate and inspiring account of the authors' real-lifeexperiences of surviving cancer. The authors provide astraightforward account of what life is like after the whirlwind ofdoctors' visits and radical treatments comes to an And.

When Americans mamboed in the kitchen, waltzed in the living room, polkaed in the pavilion, and tangoed at the club; with glorious, full-color record cover art. In midcentury America, eager dancers mamboed in the kitchen, waltzed in the living room, Watusied at the nightclub, and polkaed in the pavilion, instructed (and inspired) by dance records. Glorious, full-color record covers encouraged them: Let’s Cha Cha Cha, Dance and Stay Young, Dancing in the Street!, Limbo Party, High Society Twist. In Designed for Dancing, vinyl record aficionados and collectors Janet Borgerson and Jonathan Schroeder examine dance records of the 1950s and 1960s as expressions of midcentury culture, identity, fantasy, and desire. Borgerson and Schroeder begin with the record covers—memorable and striking, but largely designed and created by now-forgotten photographers, scenographers, and illustrators—which were central to the way records were conceived, produced, and promoted. Dancing allowed people to sample aspirational lifestyles, whether at the Plaza or in a smoky Parisian café, and to affirm ancestral identities with Irish, Polish, or Greek folk dancing. Dance records featuring ethnic music of variable authenticity and appropriateness invited consumers to dance in the footsteps of the Other with “hot” Latin music, Afro-Caribbean rhythms, and Hawaiian hulas. Bought at a local supermarket, department store, or record shop, and listened to in the privacy of home, midcentury dance records offered instruction in how to dance, how to dress, how to date, and how to discover cool new music—lessons for harmonizing with the rest of postwar America.

Oliver Cromwell McCoy, God’s man in Ulster, has stumbled into the radio age. With a crumbling transmitter left over from the Titanic he has taken to blasting the countryside with his inimitable brand of mendacious evangelism.

The Newfoundland Poetry Series was begun in 1993 as Breakwater's twentieth anniversary project to honour and preserve the literary talents of our Newfoundland and Labrador poets. Selection is based on quality. Breakwater's aim is to make the series affordable to as many lovers of poetry as possible.

Intercepted e-mails alert Homeland Security to the possibility of a terrorist attack on South Florida staged from a Bahamian island. Rhonda and Morgan Early are again recruited by the Drug Enforcement Administration to monitor suspicious activity on Bimini, located just fifty miles from Miami. Ahmed Atta needs money to implement his plan to kill sixty-five thousand Americans. He busts convicted cartel leader Victor Torres from jail for one million dollars. When Rhonda and Morgan learn of suspicious activity on Bimini, they rush to the island to thwart any potential danger. Torres inadvertently assists the terrorists by attempting to avenge his earlier capture by Morgan and Rhonda. He snatches their son and lures them to his trafficking headquarters on Plana Cay with the intent to brutally murder them. Meanwhile, Ahmed Atta's brilliant plan to kill an unfathomable number of Americans proceeds unabated.