Leonard Setright was one of the twentieth century's most influential, opinionated and idiosyncratic motoring journalists; described as 'more Isaiah Berlin than Jeremy Clarkson', everything he wrote was inspired by his knowledge of and passion for all things automotive. Long Lane with Turnings is a dryly witty memoir of his early years and the author's last book, left unfinished at the time of his death in the summer of 2005. We encounter Setright as a child standing behind his father's driving seat in family Wolseley, enjoining him to 'Go fast!' and taking an early delight in machines of all sorts, from the camera-like precision of the Setright ticket machine for bus conductors (manufactured by his father's firm) to his first bicycle. We also see him developing that independence of mind which so characterized his writing as a critic: readers will savour his pitch-perfect descriptions of many of the cars that he drove, be it the Mini ('a very convincing little brick'), a Renault 4 ('swaying like a sailing dinghy in corners') or his beloved Bristols. The portrait of the writer which emerges from these pages is marvellously detailed, quirky and full of warmth.

Setright was one of the 20th century's most influential, opinionated and idiosyncratic motoring journalists. Everything he wrote was inspired by his knowledge of and passion for all things automotive. This memoir of his early years was left unfinished at the time of his death in the summer of 2005.

DigiCat Publishing presents to you this special edition of "The Long Lane's Turning" by Hallie Erminie Rives. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

About growing up in an Irish Catholic family in Philadelphia in the 50s.

The unforgettable true story of one man’s escape from the school-to-prison pipeline, how he reinvented himself as a pastor and education reform advocate, and what his journey can teach us about turning the collateral damage in the lives of our youth into hope. “A heart-wrenching and triumphant story that will change lives.”—Bishop T. D. Jakes Michael Phillips would never become anything. At least, that’s what he was told. It seemed like everyone was waiting for him to just fall through the cracks. After losing his father, suffering a life-altering car accident, and losing his college scholarship, Michael turned to selling drugs to make ends meet. But when his house was raided, he was arrested and thrown into a living nightmare. When it looked like he would be sentenced to spend years behind bars, the judge gave him a choice—go to a special college program for adjudicated youth or face the possibility of a thirty-year prison sentence. It wasn’t hard to pick. From that choice, a mission was born—to help change the system that shuffles so many young Black men like Michael straight from school to prison. Today, Michael is the pastor of a thriving church, a local leader in Baltimore, and a member of the Maryland State Board of Education. He discovered that education was the path to becoming who he was created to be. Armed with research, statistics, and his powerful story, Michael tackles the embedded privilege of the education system and introduces ideas for change that could level the playing field and reduce negative impacts on vulnerable youth. He explores ways in which the readers can help advocate and provide resources for students, and points us to the one thing anyone can start doing, no matter who we are or what our role is: speak into young kids’ lives. Tell them of their inherent worth and purpose. In this inspiring, thought-provoking, and energizing call to action, Michael’s practical steps provide a way forward to anyone wanting to help create space for collateral hope in the lives of for young people around them.

A reckoning with one of our most beloved art forms, whose past and present are shaped by gender, racial, and class inequities—and a look inside the fight for its future Every day, in dance studios all across America, legions of little children line up at the barre to take ballet class. This time in the studio shapes their lives, instilling lessons about gender, power, bodies, and their place in the world both in and outside of dance. In Turning Pointe, journalist Chloe Angyal captures the intense love for ballet that so many dancers feel, while also grappling with its devastating shortcomings: the power imbalance of an art form performed mostly by women, but dominated by men; the impossible standards of beauty and thinness; and the racism that keeps so many people of color out of ballet. As the rigid traditions of ballet grow increasingly out of step with the modern world, a new generation of dancers is confronting these issues head on, in the studio and on stage. For ballet to survive the twenty-first century and forge a path into a more socially just future, this reckoning is essential.

Nineteenth-century British periodicals for girls and women offer a wealth of material to understand how girls and women fit into their social and cultural worlds, of which music making was an important part. The Girl's Own Paper, first published in 1880, stands out because of its rich musical content. Keeping practical usefulness as a research tool and as a guide to further reading in mind, Judith Barger has catalogued the musical content found in the weekly and later monthly issues during the magazine's first thirty years, in music scores, instalments of serialized fiction about musicians, music-related nonfiction, poetry with a musical title or theme, illustrations depicting music making and replies to musical correspondents. The book's introductory chapter reveals how content in The Girl's Own Paper changed over time to reflect a shift in women's music making from a female accomplishment to an increasingly professional role within the discipline, using 'the piano girl' as a case study. A comparison with musical content found in The Boy's Own Paper over the same time span offers additional insight into musical content chosen for the girls' magazine. A user's guide precedes the chronological annotated catalogue; the indexes that follow reveal the magazine's diversity of approach to the subject of music.

1913. Part Eleven of Eighteen Volumes. Gilbert, Canadian-born novelist and politician, his literary reputation lies primarily on his earlier descriptive, dramatic and historic Canadian stories. He moved to England in 1889 and later served in Parliament. Parker explains that in this edition of his work, each volume will have a special introduction setting forth, as far as possible, the relation of each work to the author, to its companion works, and to the scheme of his literary life. The Lane That Had No Turning and other associated tales concerning the people of Pontiac; together with certain parables of a province are written in keeping with the happily simple and uncomplicated life of French Canada as the author knew it then. The stories in this volume, such as The Tragic Comedy of Annette are written with simple realism, while at the end of the volume are nine fantasies or stories, titled The Parables of the Provinces. While Parker believes these fantasies also possess the spirit of French Canada, they are more or less mystical in nature. See other titles by this author available from Kessinger Publishing.

One of the most stimulating, informative, provocative and witty books on the motor car ever written.