When a poet addresses a living person—whether friend or enemy, lover or sister—we recognize the expression of intimacy. But what impels poets to leap across time and space to speak to invisible listeners, seeking an ideal intimacy—George Herbert with God, Walt Whitman with a reader in the future, John Ashbery with the Renaissance painter Francesco Parmigianino? In Invisible Listeners, Helen Vendler argues that such poets must invent the language that will enact, on the page, an intimacy they lack in life. Through brilliantly insightful and gracefully written readings of these three great poets over three different centuries, Vendler maps out their relationships with their chosen listeners. For his part, Herbert revises the usual "vertical" address to God in favor of a "horizontal" one-addressing God as a friend. Whitman hovers in a sometimes erotic, sometimes quasi-religious language in conceiving the democratic camerado, who will, following Whitman's example, find his true self. And yet the camerado will be replaced, in Whitman's verse, by the ultimate invisible listener, Death. Ashbery, seeking a fellow artist who believes that art always distorts what it represents, finds he must travel to the remote past. In tones both tender and skeptical he addresses Parmigianino, whose extraordinary self-portrait in a convex mirror furnishes the poet with both a theory and a precedent for his own inventions. By creating the forms and speech of ideal intimacy, these poets set forth the possibility of a more complete and satisfactory human interchange—an ethics of relation that is uncoerced, understanding, and free.

When a poet addresses a living person, we recognise the intimacy being evoked, but what causes a poet to invoke invisible listeners? Helen Vendler explores this area of poetry, focusing on the works of George Herbert, Walt Whitman and John Ashbery.

The Indian Listener (fortnightly programme journal of AIR in English) published by The Indian State Broadcasting Service,Bombay ,started on 22 december, 1935 and was the successor to the Indian Radio Times in english, which was published beginning in July 16 of 1927. From 22 August ,1937 onwards, it was published by All India Radio,New Delhi.In 1950,it was turned into a weekly journal. Later,The Indian listener became "Akashvani" in January 5, 1958. It was made a fortnightly again on July 1,1983. It used to serve the listener as a bradshaw of broadcasting ,and give listener the useful information in an interesting manner about programmes,who writes them,take part in them and produce them along with photographs of performing artistS. It also contains the information of major changes in the policy and service of the organisation. NAME OF THE JOURNAL: The Indian Listener LANGUAGE OF THE JOURNAL: English DATE,MONTH & YEAR OF PUBLICATION: 22-07-1938 PERIODICITY OF THE JOURNAL: Fortnightly NUMBER OF PAGES: 84 VOLUME NUMBER: Vol. III, No. 15. BROADCAST PROGRAMME SCHEDULE PUBLISHED(PAGE NOS): 1029-1100 ARTICLE: Classical Music And The Radio AUTHOR: V. R. Talasikar KEYWORDS: Spread Of Classical Music, Gramophone, Jalasa Document ID: INL -1936-37 (D-D) Vol -I (15)

In 'The Radio Boys at Mountain Pass; Or, The Midnight Call for Assistance' by Allen Chapman, the reader is transported to the early 20th century where the world of amateur radio communication is at its peak. The book follows the adventures of a group of young radio enthusiasts as they navigate through treacherous mountain terrain to help a stranded traveler. Chapman's literary style is engaging and immersive, providing a glimpse into the technological advancements of the time while weaving a thrilling tale of friendship and bravery. His descriptive language and attention to detail truly bring the story to life, making it a captivating read for both young adults and adults alike. This book belongs to the genre of juvenile fiction that combines elements of adventure, technology, and camaraderie, making it a unique and enjoyable read for all ages. Allen Chapman, a prolific writer of children's books, showcases his deep understanding of the adolescent mind, crafting a story that is not only entertaining but also educational in its portrayal of early radio technology. With its blend of excitement and historical context, 'The Radio Boys at Mountain Pass' is a must-read for anyone interested in a thrilling adventure with a touch of nostalgia.

“A profoundly unsettling, brilliantly executed, and deeply humane depiction of a slow slide toward an unspeakable act . . . A remarkable novel” (Emily St. John Mandel, author of Station Eleven). Judith has been visiting her mother, Stephanie, in prison once a month for the last eight years. She still can’t bring herself to talk with her mother about what brought them here—or about Nathaniel, the man whose religious cult almost cost them their lives. When Stephanie first meets him, she is a struggling single mother and Nathaniel is a charismatic outsider, unlike anyone she’s ever known. In deciding to join the group he’s founded, Stephanie thinks she’s doing the best thing for her daughter: a new home, a new purpose. Judith and Stephanie are initiated into a secret society whose “followers” must obey the will of a zealous prophet. As Stephanie immerses herself in her new life, Judith slowly realizes the moral implications of the strict lifestyle Nathaniel preaches. Tensions deepen, faith and doubt collide, and a horrifying act of violence changes everything. In the shattering aftermath, it seems that no one is safe. With “propulsive plotting” (The Guardian), The Followers is a novel about love, hope, and identity that asks: Are we still responsible for our actions if we remake ourselves in someone else’s image? And can there be a way back? “With skillful judgment, Wait shows us that not everyone can be trained or scared into submission. The tenderness and the transformative nature of the ending are truly moving.” —The Independent “Brooding tension . . . building to a page-turning finish.” —Daily Mail

Bringing a provocative perspective to the poetry wars that have divided practitioners and critics for decades, Gillian White argues that the sharp disagreements surrounding contemporary poetics have been shaped by “lyric shame”—an unspoken but pervasive embarrassment over what poetry is, should be, and fails to be. Favored particularly by modern American poets, lyric poetry has long been considered an expression of the writer’s innermost thoughts and feelings. But by the 1970s the “lyric I” had become persona non grata in literary circles. Poets and critics accused one another of “identifying” with lyric, which increasingly bore the stigma of egotism and political backwardness. In close readings of Elizabeth Bishop, Anne Sexton, Bernadette Mayer, James Tate, and others, White examines the social and critical dynamics by which certain poems become identified as “lyric,” arguing that the term refers less to a specific literary genre than to an abstract way of projecting subjectivity onto poems. Arguments about whether lyric poetry is deserving of praise or censure circle around what White calls “the missing lyric object”: an idealized poem that is nowhere and yet everywhere, and which is the product of reading practices that both the advocates and detractors of lyric impose on poems. Drawing on current trends in both affect and lyric theory, Lyric Shame unsettles the assumptions that inform much contemporary poetry criticism and explains why the emotional, confessional expressivity attributed to American lyric has become so controversial.

An advocate may know what to say but is only effective when he or she knows how to be persuasive. Combining fact with know-how to persuade judges, juries, and arbitrator, the book teaches immediately useful techniques such as how to channel the initial adrenaline buzz, grab and hold the fact finder's attention, gesture while speaking, speaking in phrases, and polishing the persuasive style. Based on 25 years of experience from coaching practitioners, this guide integrates cutting edge discoveries in human factors, gesture studies, linguistics, neuroscience, and sports psychology to give litigators a competitive edge. This brand new edition includes all new illustrations and new information on motions, arbitrations, and appeals.

The devil's strongholds originated in the spirit realm. Satan, the devil, has many ways of creating and holding a person in a certain condition to benefit his purposes and cause in the world. Once he sets his plan, it's going to be carried out by the individual regardless of being a Christian; believer or nonbeliever, it makes no difference. He has a way to hold individuals to his cause, whether it's delayed or not; his method of holding persons under his control is even greater among Christians. Why is that? Because most Christians believe they are "exempt" from the devil's strongholds. Big mistake! No one is exempt from the forces of evil, whose strongholds are among the highest level of evil and wickedness in the spiritual realm. A person can bind themselves in a stronghold without having any knowledge; it's not Satan but their spirit of perception, which is as real, active, and alive as the person themselves, for which Satan, the devil, gets the credit and blame. The spirit of perception of the mind is more powerful than the world acknowledges. The spirit of perception can hold a person in restraint forever without changing their perception. The world does not acknowledge or consider the spirit of perception is the culprit, which Satan feeds off, and that holds the world, the entire world, in total darkness! Satan is the god of this world and its system of things, which he controls because of the world's lack of knowledge of strongholds. Most of the world population does not know what a stronghold really represents in all human lives. No one is exempt from strongholds, which can bind a person until death! This book, Breaking Strongholds of the Devil Satan, shall give some light to the world about how strongholds bind persons for lifetimes. He or she can be set free of any and all strongholds in minutes where others have been held a lifetime and died.

How does developmental psychology connect with (what used to be called) the developing world? What do cultural representations indicate about the contemporary politics of childhood? How is concern about child sexual exploitation linked to wider securitization anxieties? In other words: what is the political economy of childhood, and how is this affectively organized? This new edition of Developments: Child, Image, Nation, fully updated, is a key conceptual intervention and resource, reflecting further on the contexts and frameworks that tie children to national and international agendas. A companion volume to Burman’s Deconstructing Developmental Psychology (third edition, 2017) this volume helps explain why questions around children and childhood, including their safety, welfare, their interests, abilities, sexualities and their violence, have so preoccupied the late twentieth and twenty-first centuries, showing how the frames for these concerns have extended beyond their Euro-US contexts of origination. In this completely revised edition, Burman explores changing debates and contexts, offering resources for interpreting continuities and shifts in the complex terrain connecting children and development. Through reflection on an increasingly globalised, marketised world, that prolongs previous colonial and gendered dynamics in new and even more insidious ways, Developments analyses the conceptual paradigms shaping how we think about and work with children, and recommends strategies for changing them. Drawing in particular on feminist and post-development literatures, as well as original and detailed engagement with social theory, it illustrates how and why reconceptualising notions of individual and human development, including those informing models of children’s rights and interests, is needed to foster more just and equitable forms of professional practice with children and their families. Burman offers an important contribution to a set of urgent debates engaging theory and method, policy and practice across all the disciplines that work with, or lay claim to, children’s interests. A persuasive set of arguments about childhood, culture and professional practice, Developments is an invaluable resource to teachers and students in psychology, childhood studies, and education as well as researchers in gender studies.