Standing in the doorway, crying for my mom with arms outstretched, wiggling my fingers, suggesting that she must fetch me, as she was walking towards the car. "I want to go with," I screamed, but she just carried on walking. My sister, Jean, held me back. I hated her in that moment, because I thought if she did not hold me so tight, I could have made a run for it and gone with my mom. My mom reached the car, opened the door, turned around, and paused for a moment. As she stood there looking back, I thought she was going to say, "Come!" but she did not. She turned, got in, closed the door, and the car pulled away.

A young man bargains his soul away, while his painfully beautiful hologram mirrors every sin and each nightmarish step into depravity even cold-blooded murder. Take a thought-provoking tour of the darkest sides of greed, lust, addiction, and violence. Named best horror novel of the year by Queerhorror.com.Praise for A Face Without A Heart"Reed does himself, and his source material proud A penetrating morality tale, a trip into the very heart of darkness."-Hank Wagner, Hellnotes Book Review"Reed's got a knack for presenting the gruesome lower depths of a soul and a body."-Catey Sullivan, New City

The Story Behind THE LEGEND OF BAGGER VANCE If you've read his books THE WAR OF ART and TURNING PRO, you know that for thirty years Steven Pressfield (GATES OF FIRE, THE AFGHAN CAMPAIGN etc.) wrote spec novel after spec novel before any publisher took him seriously. How did he finally break through? Ignoring just about every rule of commercial book publishing, Pressfield's "first" novel not only became a major bestseller (over 250,000 copies sold), it was adapted into a feature film directed by Robert Redford and starring Matt Damon, Will Smith, and Charlize Theron. Where did he get the idea? What magical something did THE LEGEND OF BAGGER VANCE have that his previous manuscripts lacked? Why did Pressfield decide to write a novel when he already had a well established screenwriting career? How does writing a publishable novel really work? Taking a page from John Steinbeck's classic JOURNAL OF A NOVEL, Steven Pressfield offers answers for these and scores of other practical writing questions in THE AUTHENTIC SWING.

Challenges Students with Learning Disabilities Face without Transition Programs to Post-Secondary Institutions By: Christine Warian Ed.D. Christine Warian Ed.D. has been in education for over two decades and, throughout her career, has developed a passion for literacy and dyslexia. She has also developed a desire to prepare the next generation of teachers as they embark on their career educating students who come into their lives. Challenges Students with Learning Disabilities Face without Transition Programs to Post-Secondary Institutions was developed as a dissertation topic since Dr. Warian wanted to know what programs are available to students with learning disabilities as they prepare to transition to post-secondary institutions. Dr. Warian is familiar with services that are available to students with learning disabilities in the K-12 school environment and felt a need to investigate what programs, if any, are available to this population of students at the post-secondary level. Administrators of post-secondary institutions would benefit from reading this text to provide them guidance in what to provide to students with learning disabilities that are enrolled in their institution. Investigating post-secondary institutions, private and public, in the state of New Jersey, few institutions provide programs for students with learning disabilities. Information provided in this work, from institutional websites as well as participants’ experiences, indicates a need at the post-secondary level to ensure students with a learning disability have the same opportunity as their non-learning-disabled peers at the post-secondary level.

History of Eastern Europe, Russia.

"I'll never want to draw anyone else but you. You are my muse. Without you there is no art in me." With her pale, luminous skin and cloud of copper-colored hair, nineteen-year-old Lizzie Siddal looks nothing like the rosy-cheeked ideal of Victorian beauty. Working in a London milliner's shop, Lizzie stitches elegant bonnets destined for wealthier young women, until a chance meeting brings her to the attention of painter and poet Dante Gabriel Rossetti. Enchanted both by her ethereal appearance and her artistic ambitions--quite out of place for a shop girl--Rossetti draws her into his glittering world of salons and bohemian soirees. Lizzie begins to sit for some of the most celebrated members of the Pre-Raphaelite Brotherhood, posing for John Everett Millais as Shakespeare's Ophelia, for William Holman Hunt--and especially for Rossetti, who immortalizes her in countless paintings as his namesake's beloved Beatrice. The passionate visions Rossetti creates on canvas are echoed in their intense affair. But while Lizzie strives to establish herself as a painter and poet in her own right, betrayal, illness, and addiction leave her struggling to save her marriage and her sense of self. Rita Cameron weaves historical figures and vivid details into a complex, unconventional love story, giving voice to one of the most influential yet overlooked figures of a fascinating era--a woman who is both artist and inspiration, long gazed upon, but until now, never fully seen. An excerpt from Ophelia’s Muse Rossetti stood behind the canvas, pretending to study Deverell's painting while he admired its model. Despite Deverell's enthusiastic descriptions, Rossetti was completely unprepared for the glorious woman before him. She seemed to be from another age, as if she had sprung to life from an antique painting of an Italian saint. Seated before the window, her hair cast a slight golden glow in the afternoon sun, like a halo. She could not have been more perfect if he had sculpted her from marble with his own hands. Deverell claimed that he had found the perfect Viola, but this girl was far too beautiful to pose as some love-sick page. She was clearly meant to sit for the great heroines of history and myth, and Rossetti vowed to paint her as a queen. "Miss Siddal, has anyone ever told you that you were surely crafted by the gods in order to be painted? If you don't believe that yours is a beauty for the ages, you underestimate yourself." The force of his words struck Lizzie, and she wondered if he was serious, and if it could be true. Was this the thing that she had always been waiting for? Was she really meant to inspire great artists? Her head buzzed with the possibility, but the very allure of the idea felt dangerous...

Three cultures, Native American, Euro-American and Metis come together in this 1934-2010 historical fiction. Setting: Great Lakes region, a pristine wilderness community. Dynamic interplay in love and conflicts, the story features Baby boomers in thier formative years. Thisn is the follow up companion to the book, Hawk Dancer. The Elder prtagonists, Jacob Hawk Dancer (Ojibwe/Norwegian), and Job (Potawatomi)promote conciliation among races and classes of people. They mentor the youth of the 1960s through the Great American Civil Rights movement, American Indian Movement, and the Vietnam war era. The first ever Native American Franciscan Order is established, the Congregation of St. James. The kids come of age in the 70s and continue the work of inculturation, promotion of Indigenous cultures in the Churches and society. Eventualy, they are the elders. They see the passage of the American Indian Freedom of Religion Law, Aug. 11, 1978. Endearing but not soft and cuddly. Exciting, dramatic.