So you have to write an essay for university? Going through the book step-by-step you are taken through the process of putting together your own research essay, using a visual and active approach. Writing Essays by Pictures explains the basics of academic research to people who have always wished for a way to make these things visual... and fun!

When Photojournalist Nancy Borowick's parents--Howie and Laurel--were diagnosed with stage IV cancer and simultaneously underwent treatment, she did the only thing she knew how--she documented it. By turning the camera on her family's life during this most intimate time, Borowick learned a great deal about herself, family, and relationships in general. She discovered that her parents' marriage--while complex--was an intricate symbiosis of compassion. Their partnership and sense of family only deepened. And no matter the prognosis, there was always room for laughter. Today, Borowick, herself, is married. Her father passed away in 2013, and her mom followed suit, 364 days later. The lessons she garnered from Howie and Laurel were plentiful: always call when the airplane lands, never pass on blueberry pie--and most importantly, family is love and love is family.

What precisely, W. J. T. Mitchell asks, are pictures (and theories of pictures) doing now, in the late twentieth century, when the power of the visual is said to be greater than ever before, and the "pictorial turn" supplants the "linguistic turn" in the study of culture? This book by one of America's leading theorists of visual representation offers a rich account of the interplay between the visible and the readable across culture, from literature to visual art to the mass media.

“Judith Kitchen has written a book that is at once clear and accessible and at the same time insistently complex. Her effortlessly constructed hybrids make Half in Shade part memoir, part speculation, part essay, a demonstration of the interactive art of seeing, and finally for me, a beautifully sustained meditation. It is at that meditative level that the book’s potent, unsentimental emotive power gathers.”--Stuart Dybek When Judith Kitchen discovered boxes of family photos in her mother's closet, it sparked curiosity and speculation. Piecing together her memories with the physical evidence in the photos, Kitchen explores the gray areas between the present and the past, family and self, certainty and uncertainty. The result is a lyrical, ennobling anatomy of a heritage, family, mother-daughter relationships, and the recovery from an illness that captures with precision the forces of the heart and mind when "none of us knows what lies beyond the moment, outside the frame." Judith Kitchen is the award-winning author of several works of fiction, nonfiction, and poetry. Her work has won the Lillian Fairchild Award, a Pushcart Prize, and the S. Mariella Gable Fiction Prize. She has served as judge for the AWP Nonfiction Award, the Pushcart Prize in poetry, the Oregon Book Award, and the Bush Foundation fellowships, among others. The recipient of a National Endowment for the Arts fellowship, Kitchen lives in Port Townsend, Washington, and serves on the faculty and as codirector of the Rainier Writing Workshop at Pacific Lutheran University.

A memoir-writing guide offers writing lessons and examples for those interested in putting their memories down on paper, explains the difference between remembering and imagining, and describes the language of truth.

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times