People take many journeys in their lifetime which shape the people they become. Go Ask LaShane is a journey through the decades of my life through prose. Some poetry. Some short stories. Some good. Some bad. Decades of Ramblings is a journey from the present back to the beginning of my love affair with writing. Enjoy.

Go Ask LaShane Volume Two: My Human Experience is a poignant collection of poetry. If you love poetry immerse yourself in the depths of aliveness as LaShane navigates the complexities of love, savors the moments of joy, and confronts the shadows of grief. These verses capture the raw essence of the human experience, offering a voice to the rhythms of change.

THE MAGIC MAN: From the time he was little he knew he was different. He enjoyed pain. Inflicting it. Seeing it swim through the eyes of others. His mother suspected what he was, a sociopath, like his father. He loved hurting animals and never smiled. She did everything in her power to instill goodness in him. But, would nurturing him with goodness be enough, when at his core he was pure evil? Only time would tell. Or, would time help him see that if he gave in to his true nature, he would grow to be something more powerful than even he knew possible? THE PAIN EATER: It's been two years since Sadie found one of the Magic Man's victims, Maxine Powell. With her growing abilities and her dad's notes she believes finding the missing women is her destiny. When her health takes a dark turn, Adrian and Lupita urge her to take a step back. She reluctantly agrees. But after she starts receiving mental messages from one of the victim's six-year-old son, she questions whether her hiatus is a good idea. If she answers his call will she find one more victim, or move closer to becoming a victim herself?

"She who holds the stone awakes the shifters"--Cover

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1883 edition. Excerpt: ... total amount expended up to that time being " 176, 6, 7i, {not including clothing, &c, received from home." * * *) He was graduated in the class of 1767, his diploma in Latin being dated "Nassau Hall on the day before the Callends of October, 1767," and signed by the Rev. William Tennent, pres.; Elihu Spinner, John Blair, John S. Brainerd, Johannes McQus, Richardus Treat, and Carolus Macknight. This diploma was, in 1875, in the hands of Dr. Otho Evans, of Franklin, Warren County, Ohio, whose mother was a granddaughter of the Rev. Wm. Schenck. After leaving college he studied theology with the Rev. "William Tennent at Freehold, New Jersey, and was licensed by the Presbytery of New Brunswick in 1770. During this time he was intimately associated with the family of one of the old Scotch Presbyterians, Robert Cumming, whilom High Sheriff of Monmouth County, who lived at Matealapau, in the vicinity of the Tennents, and with whom he for a time lived while prosecuting his theological studies, and whose daughter, Anna Cumming, he married on the 7th day of March, 1786. She was born at Monmouth, New Jersey, 3d May, 1750, and died at Franklin, Ohio, 23d June, 1838, "a mother of many children and as full of virtuous honors aB of years." Her grandmother was Catherine van Brugh, of New York city, who married first John Noble, an English gentleman, and married second, 23 August, 1738, the Rev. William Tennent, Jun. This fact may, to some extent, account for some of the movements of the Rev. Mr. Schenck, as, in 1777, he went to Bucks County, Pa., the seat of the famous "log college," founded by the Rev. "William Tennent, Sen. The year succeeding his entry into the ministry, in 1771, he was ordained pastor of the Presbyterian church at Allentown, ...

More than any other filmmaker, Sam Peckinpah opened the door for graphic violence in movies. In this book, Stephen Prince explains the rise of explicit violence in the American cinema, its social effects, and the relation of contemporary ultraviolence to the radical, humanistic filmmaking that Peckinpah practiced. Prince demonstrates Peckinpah's complex approach to screen violence and shows him as a serious artist whose work was tied to the social and political upheavals of the 1960s. He explains how the director's commitment to showing the horror and pain of violence compelled him to use a complex style that aimed to control the viewer's response. Prince offers an unprecedented portrait of Peckinpah the filmmaker. Drawing on primary research materials—Peckinpah's unpublished correspondence, scripts, production memos, and editing notes—he provides a wealth of new information about the making of the films and Peckinpah's critical shaping of their content and violent imagery. This material shows Peckinpah as a filmmaker of intelligence, a keen observer of American society, and a tragic artist disturbed by the images he created. Prince's account establishes, for the first time, Peckinpah's place as a major filmmaker. This book is essential reading for those interested in Peckinpah, the problem of movie violence, and contemporary American cinema.

A comprehensive biography of the legendary creator of The Wild Bunch, Straw Dogs and The Getaway, taking an aptly no-holds-barred look at his life, his vision and his influence on modern cinema. Famed and reviled in equal measure for his no-frills approach to violent realism, Peckinpah refused to compromise his ideas for his producers, with the result that his films were decried for their apparent amoralism as much as lauded for their groundbreaking style and savage intensity. A complete look at the life and work of a modern seer.

When first published in 1969, Horizons West was immediately recognised as the definitive critical account of the Western film and some of its key directors. This greatly expanded new edition is, like the original, written in a graceful, penetrating and absorbingly readable style.

Deliberately eclectic and panoramic, THE NEW AMERICAN CINEMA brings together thirteen leading film scholars who present a range of theoretical, critical, and historical perspectives on a rich and pivotal time in American cinema--that from the mid 1960s to the present. With its range of topics and breadth of critical approaches, this anthology illuminates the volatile mix of industrial process and artistic inspiration that comprises American moviemaking. 46 photos.

Interviews with the Oscar-winning director of Unforgiven and Million Dollar Baby