Johnson DeWinter owned a diamond business and was quite wealthy. When he met Andria he fell deeply in love with her and asked her to marry him. She never told him she had a boyfriend named Kavanaugh. However, Andria married Johnson anyway and kept the boyfriend.

Are our identities attached to our faces? If so, what happens when the face connected to the self is gone forever—or replaced? In Face/On, Sharrona Pearl investigates the stakes for changing the face–and the changing stakes for the face—in both contemporary society and the sciences. The first comprehensive cultural study of face transplant surgery, Face/On reveals our true relationships to faces and facelessness, explains the significance we place on facial manipulation, and decodes how we understand loss, reconstruction, and transplantation of the face. To achieve this, Pearl draws on a vast array of sources: bioethical and medical reports, newspaper and television coverage, performances by pop culture icons, hospital records, personal interviews, films, and military files. She argues that we are on the cusp of a new ethics, in an opportune moment for reframing essentialist ideas about appearance in favor of a more expansive form of interpersonal interaction. Accessibly written and respectfully illustrated, Face/On offers a new perspective on face transplant surgery as a way to consider the self and its representation as constantly present and evolving. Highly interdisciplinary, this study will appeal to anyone wishing to know more about critical interventions into recent medicine, makeover culture, and the beauty industry.

My Search is the result of over 10 years of research, testing and experimenting to find answers for all the people about allergies and sickness, and how and why they were getting them. The author feels that her work will serve and help people around the world. This book is a personal journey of an author who fundamentally cares about the welfare and health of her fellow man, and wanted to use her own personal challenges and transform them into opportunity to learn and better the world around her.

Two men. Two feuding cities. One woman. One was born in our nations capital, Washington DC. The other is a native of Murder City, Baltimore. Despising the other s city made them rivalries before even meeting. It didn t matter that they both grew up on violent streets surrounded by drugs and poverty. Soon, need arises and they re forced to cross each other s paths. But when they do, hate from generations before them rises and their meeting becomes intense. Many years later...an opportunity presents itself for them to put their dislikes aside to make millions. They agree, and quickly become the richest men on the east coast. One has a quick temper...the other has quick wit and this combination makes them unstoppable. There alliance unites soldiers from both DC and Baltimore as they solidify their empire. Defying all enemies, their bond tightens and they become the best of friends. But what happens when a woman becomes involved whose beauty is so intoxicating, that to get another woman like her would be impossible? War. The Face That Launched A Thousand Bullets is a classic love story. The love of money. The love of power. The love of a woman.

This riveting inspirational story recounts how a young Jamaican woman survived a life of daunting obstacles and near-death experiences by unleashing her unwavering faith in God. Her faith gave her the power of self-will and determination to break the odds and transform her life-chances in amazing ways.

Argues for a new kind of criticism, one that mediates between literal and allegorical modes of interpretation.

Edward S. Curtis's The North American Indian is the most ambitious photographic and ethnographic record of Native American cultures ever produced. Published between 1907 and 1930 as a series of twenty volumes and portfolios, the work contains more than two thousand photographs intended to document the traditional culture of every Native American tribe west of the Mississippi. Many critics have claimed that Curtis's images present Native peoples as a "vanishing race," hiding both their engagement with modernity and the history of colonial violence. But in this major reappraisal of Curtis's work, Shamoon Zamir argues instead that Curtis's photography engages meaningfully with the crisis of culture and selfhood brought on by the dramatic transformations of Native societies. This crisis is captured profoundly, and with remarkable empathy, in Curtis's images of the human face. Zamir also contends that we can fully understand this achievement only if we think of Curtis's Native subjects as coauthors of his project. This radical reassessment is presented as a series of close readings that explore the relationship of aesthetics and ethics in photography. Zamir's richly illustrated study resituates Curtis's work in Native American studies and in the histories of photography and visual anthropology.