This is the diary of an adolescent girl diagnosed with mental illness. She seems obsessed with celebrities such as Melissa Manchester, Styx, Madonna, Barbra Streisand, and affected by the book Carrie White by Stephen King. Her writing is based on sound associations, leading to rhymes, but sometimes incongruous, and in line with a perceptual disorder. So that a statement at the beginning of a sentence may be totally contradicted by its end. Her thoughtprocessing at times is like a train that switches tracks in the midst of a trajectory. Many times however it does make sense. It is hoped that this book may forge the way to innovative approaches to the treatment of thought disorders, which is a the basis of paranoid disorders, enlisting the strength of the affected individuall to ""put the train back on the correct track,"" and use more education and less drugs. Yael describes herself as a flying swan, therefore the cover.

This book describes the experience of taking care of an adolescent with mental illness while coordinating art shows at a College Galleries. (PCC) In particular art by WPA artists at the occasion of the 50th anniversary of the WPA program. (Governement subsidy of the artists under the great depression in the Roosevelt area)

Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1930–1939: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from January 1930 through December 1939. The volume chronicles more than 4,250 productions at 61 major central London theatres during this period. For each production the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were The Barretts of Wimpole Street, French without Tears, George and Margaret, The Greeks Had a Word for It, Laburnum Grove, Lady Precious Stream, The Late Christopher Bean, Love on the Dole, Me and My Girl, Private Lives, and 1066 and All That, as well as numerous musical comedies (British and American), foreign works, operas, ballets, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1930-1939 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.

In one volume, the two short-story collections that established Kate Chopin as one of America's best-loved realist writers. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

Music moves through time; it is not static. In order to appreciate music wemust remember what sounds happened, and anticipate what sounds might comenext. This book takes you on a journey of music from past to present, from the Middle Ages to the Baroque Period to the 20th century and beyond!