Whose Face Is In The Mirror

The Story of One Woman’s Journey from the Nightmare of Domestic Abuse to True Healing. Throughout this book, Schwartz offers valuable self-help techniques to enable battered women to discover their self-worth and regain their lives. Her honesty in detailing her thought processes provides enormous insight into the psyche of a victim of abuse, while her ultimate recovery offers hope to others trapped within the cycle of domestic violence. All profits from this book will be donated to charity.

A dazzlingly original and ambitious book on the history of female self-portraiture by one of today's most well-respected art critics. Her story weaves in and out of time and place. She's Frida Kahlo, Loïs Mailou Jones and Amrita Sher-Gil en route to Mexico City, Paris or Bombay. She's Suzanne Valadon and Gwen John, craving city lights, the sea and solitude; she's Artemisia Gentileschi striding through the streets of Naples and Paula Modersohn-Becker in Worpswede. She's haunting museums in her paint-stained dress, scrutinising how El Greco or Titian or Van Dyck or Cézanne solved the problems that she too is facing. She's railing against her corsets, her chaperones, her husband and her brothers; she's hammering on doors, dreaming in her bedroom, working day and night in her studio. Despite the immense hurdles that have been placed in her way, she sits at her easel, picks up a mirror and paints a self-portrait because, as a subject, she is always available. Until the twentieth century, art history was, in the main, written by white men who tended to write about other white men. The idea that women in the West have always made art was rarely cited as a possibility. Yet they have - and, of course, continue to do so - often against tremendous odds, from laws and religion to the pressures of family and public disapproval. In The Mirror and the Palette, Jennifer Higgie introduces us to a cross-section of women artists who embody the fact that there is more than one way to understand our planet, more than one way to live in it and more than one way to make art about it. Spanning 500 years, biography and cultural history intertwine in a narrative packed with tales of rebellion, adventure, revolution, travel and tragedy enacted by women who turned their back on convention and lived lives of great resilience, creativity and bravery.

From the author of In Farleigh Field comes Rhys Bowen's short story "The Face in the Mirror"; it offers just the taste of mystery and mayhem fans will need to tide them over until the next Molly Murphy novel. Molly Murphy—Molly Sullivan, now that she and Daniel are finally married—is bored. Having given up her detective agency when she married, she now finds that her life is much less exciting, her days an endless stretch of housekeeping and chores. But when Molly secretly attends a suffragist meeting with her friends Sid and Gus and meets a shy, distracted woman who claims to live in a haunted house, everything is about to change.

In 2005, surgeons in France removed part of the face from a cadaver and grafted it onto the head of a 38-year-old woman grossly disfigured by a dog attack. Three years later, in December, 2008, surgeons at the Cleveland Clinic announced they had performed the first U.S. face transplant. Although modern culture is accustomed to pushing medicine and the human body beyond all limits, the world's first partial face transplant and the seven that have followed have caused a stir that still reverberates globally. This book begins with the story of Isabelle Dinoire, the recipient of the first face transplant, and chronicles her surgery and battles with tissue rejection. Its scope widens with a look at how surgical teams, including three U.S. transplant teams, are in a global race to perform the first full face transplant, and at how medical history has led up to this point—with prior successful transplants ranging from body parts as simple as cornea to those as neurologically complicated as the heart, a hand, and a penis. The most novel among these surgeries—the face transplant—conjures up particular and expansive psychological issues. Authors Bluhm and Clendenin show how transplant recipients struggle with functional issues including a lifetime of anti-rejection drugs, a danger highlighted by the recent death of the second face transplant patient, in China. But just as challenging in the case of face transplant is the psychological effect on—and potential threat to—identity. Who are you, if suddenly your face—or a significant portion of it—is not what you were born with? What is it like to look in the mirror, and see a face that is not the one you have always had? Dinoire lamented, "It will never be me." That statement is an absolute simplification of the identity issues a face transplant can create, explain the authors. Bluhm and Clendenin show how, across history and media, humankind—via medicine, literature, film, and other media—has dreamed of a day when face transplants would be possible. With so many disfigurements occurring among the military in Iraq, and experimental face transplants too expensive for implementation in the private sector, it is likely that the U.S. military will take the reins and further face transplant techniques as quickly as possible to serve injured personnel.

A stunning reinvention of the myth of Narcissus as a modern novel of manners, about two young, well-heeled couples whose parallel lives converge and intertwine over the course of a summer, by a sharp new voice in fiction Wes and Diana are the kind of privileged, well-educated, self-involved New Yorkers you may not want to like but can't help wanting to like you. With his boyish good looks, blue-blood pedigree, and the recent tidy valuation of his tech startup, Wes would have made any woman weak in the knees—any woman, that is, except perhaps his wife. Brilliant to the point of cunning, Diana possesses her own arsenal of charms, handily deployed against Wes in their constant wars of will and rhetorical sparring. Vivien and Dale live in Philadelphia, but with ties to the same prep schools and management consulting firms as Wes and Diana, they’re of the same ilk. With a wedding date on the horizon and carefully curated life of coupledom, Vivien and Dale make a picture-perfect pair on Instagram. But when Vivien becomes a visiting curator at The Metropolitan Museum of Art just as Diana is starting a new consulting project in Philadelphia, the two couples’ lives cross and tangle. It’s the summer of 2015 and they’re all enraptured by one another and too engulfed in desire to know what they want—despite knowing just how to act. In this wickedly fun debut, A. Natasha Joukovsky crafts an absorbing portrait of modern romance, rousing real sympathy for these flawed characters even as she skewers them. Shrewdly observed, whip-smart, and shot through with wit and good humor, The Portrait of a Mirror is a piercing exploration of narcissism, desire, self-delusion, and the great mythology of love.

A revelatory short memoir from the author and Zen Buddhist priest Ruth Ozeki about how her face has shaped and been shaped by her life

At Jewish summer camp, Lila struggles to make friends until she meets a mysterious horse in the nearby woods who helps her develop confidence in this fourth story in the American Horse Tales series. Lila is a young girl attending Jewish summer camp. She doesn't initially connect with the other campers and finds herself alone in the forest, where she encounters Lonny, a beautiful brown horse with white spots on his face. In Lonny, Lila finds a friend who will listen to her problems as she develops the confidence she needs to befriend the other campers. Camp Mah Tovu is part of a series of books written by several authors highlighting the unique relationships between young girls and their horses.

Face in the Mirror is the story of a girl's passage out of childhood in the African bush into the jungle of life as a lesbian, American, missionary-kid. Surrounded by mixed messages of love and fear, spiritual connection and strident doctrine, Emily bravely navigates her way from rejection to acceptance of her authentic self and finds her role in life, family and the church.