At age twenty-one, while she was working with the legendary Nadia Boulanger in France, concert pianist Carol Rosenberger was stricken with paralytic polio—a condition that knocked out the very muscles she needed in order to play. But Rosenberger refused to give up. Over the next ten years, against all medical advice, she struggled to rebuild her technique and regain her life as a musician—and went on to not only play again, but to receive critical acclaim for her performances and recordings. Beautifully written and deeply inspiring, To Play Again is Rosenberger’s chronicle of making possible the seemingly impossible: overcoming career-ending hardships to perform again.

As editor of the Guardian, one of the world's foremost newspapers, Alan Rusbridger abides by the relentless twenty-four-hour news cycle. But increasingly in midlife, he feels the gravitational pull of music—especially the piano. He sets himself a formidable challenge: to fluently learn Chopin's magnificent Ballade No. 1 in G minor, arguably one of the most difficult Romantic compositions in the repertory. With pyrotechnic passages that require feats of memory, dexterity, and power, the piece is one that causes alarm even in battle-hardened concert pianists. He gives himself a year. Under ideal circumstances, this would have been a daunting task. But the particular year Rusbridger chooses turns out to be one of frenetic intensity. As he writes in his introduction, "Perhaps if I'd known then what else would soon be happening in my day job, I might have had second thoughts. For it would transpire that, at the same time, I would be steering the Guardian through one of the most dramatic years in its history." It was a year that began with WikiLeaks' massive dump of state secrets and ended with the Guardian's revelations about widespread phone hacking at News of the World. "In between, there were the Japanese tsunami, the Arab Spring, the English riots . . . and the death of Osama Bin Laden," writes Rusbridger. The test would be to "nibble out" twenty minutes per day to do something totally unrelated to the above. Rusbridger's description of mastering the Ballade is hugely engaging, yet his subject is clearly larger than any one piece of classical music. Play It Again deals with focus, discipline, and desire but is, above all, about the sanctity of one's inner life in a world dominated by deadlines and distractions. What will you do with your twenty minutes?

We're constantly being given reminders that God is with us every step of the way. Your Father loves being involved in the details of your life, and every new day is His way of reaching out to show you He's in every breathtaking sunrise. And the first light of each day can serve as a reminder of how close He is to us. He is with you in every laugh you share with friends, every hug you give a family member, every "I love you" that you choose to speak, every changed diaper, every song you sing along to with your car windows down, and every late night that you gaze at the stars shining down on you." There's a subtle art in allowing ourselves to be loved, but God's love comes without effort. His love is natural, and it's for every single one of us. In every season, our Father loves us more than we could ever imagine. Dare to allow yourself to be wrapped in the center of His love right where He intended for you to be.

Uses simple sentences, photographs, and a brief story to introduce six different words: again, had, his, me, when, your.

This title was originally published in 1998. Play It Again, Sam is a timely investigation of a topic that until now has received almost no critical attention in film and cultural studies: the cinematic remake. As cinema enters its second century, more remakes are appearing than ever before, and these writers consider the full range: Hollywood films that have been recycled by Hollywood, such as The Jazz Singer, Cape Fear, and Robin Hood; foreign films including Breathless; and Three Men and a Baby, which Hollywood has reworked for American audiences; and foreign films based on American works, among them Yugoslav director Emir Kusturica's Time of the Gypsies, which is a "makeover" of Coppola's Godfather films. As these essays demonstrate, films are remade by other films (Alfred Hitchcock went so far as to remake his own The Man Who Knew Too Much) and by other media as well. The editors and contributors draw upon narrative, film, and cultural theories, and consider gender, genre, and psychological issues, presenting the "remake" as a special artistic form of repetition with a difference and as a commercial product aimed at profits in the marketplace. The remake flourishes at the crossroads of the old and the new, the known and the unknown. Play It Again, Sam takes the reader on an eye-opening tour of this hitherto unexplored territory. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1998.

The passing of a family pet in never easy, and explaining to children is often very difficult. Until We Play Again is a story that helps to comfort heavy hearts. Inspired by personal emotions after the passing of a very special dog, the author/illustrator puts his very positive outlook on the journey after we say goodbye to our furry family members. It is never a permanent goodbye, but there will be a day when we can play again.

The editor of the Guardian newspaper gave himself one year to learn Chopin's Ballade no. 1 in g minor, arguably one of the most difficult Romantic pieces in the repertory.