VIEW FROM THE BED: VIEW FROM THE BEDSIDE A Wising Up Anthology Editors: Heather Tosteson, Ph.D., Phyllis A. Langton, R.N., Ph.D., Charles D. Brockett, Ph.D. Who is the doctor or nurse who for better, or worse, you can't forget? The patient who changed your life? Thirty-eight contemporary writers explore with memoir, story, and poetry the different ways we talk about, to-and through-each other at the doctor's office, hospital, or sickbed. One surgeon celebrates his first surgical success; another grieves the death of a patient. A nurse finds her compassion exhausted by a suicidal patient; another keeps an unsentimental inventory of those moments that make it all worthwhile. Patients transitioning from a state mental hospital collaborate with clinicians to write an essay about their experiences. A mother poignantly reviews her son's twenty-five years with congenital heart disease. A woman with Crohn's disease ponders the nature of her twenty-year relationship with her physician; another masters the Zen of medical appointments in a fractured system. Nurses find themselves patients; patients grow into therapists. This book should appeal to anyone familiar with the view from the bed or the view from the bedside-and with our need individually and as a society for a comprehensive view that compassionately holds them both. CONTRIBUTORS: Patricia Barone, Rachel Squires Bloom, Ann J. Brady, Nancy J. Brandwein, Mary Ann DiMola, Nina Gaby, Jane Herschlag, Paul Hostovsky, Kathleen M. Kelley, Patricia Kett, Robert J. Kus, Mariette Landry, Phyllis A. Langton, Sara Lippmann, Zoe Losada, Gerri Luce, Frederika R. Maister, John Manesis, Michele Markarian, Carolyn McAuliffe, Elaine Morgan, Molly O'Dell, David W. Page, Diane Payne, Joel Peckham, Joan Phillips, Terry Sanville, Paula Sergi, Evelyn Sharenov, Claudette Mort Sigg, Matthew B. Smith, Robert P. Sticca, Maxine Susman, Sylvie Terespolski, Timothy Francis Urban, Claudia Van Gerven, Anne Webster, Gary Young

Some educators may view diagrams, pictures, and charts as nice add-on tools for students who are visual thinkers. But Steve Moline sees visual literacy as fundamental to learning and to what it means to be human. In Moline' s view, we are all bilingual. Our second language, which we do not speak but which we read and write every day, is visual. From reading maps to decoding icons to using concept webs, visual literacy is critical to success in today' s world. The first edition of I See What You Mean, published in 1995, was one of the first books for teachers to outline practical strategies for improving students' visual literacy. In this new and substantially revised edition, Steve continues his pioneering role by including dozens of new examples of a wide range of visual texts--from time maps and exploded diagrams to digital tools like smartphone apps and tactile texts. In addition to the new chapters and nearly 200 illustrations, Steve has reorganized the book in a useful teaching sequence, moving from simple to complex texts. In one research strategy, called recomposing, Steve shows how to summarize paragraphs of information not as a heap of interesting facts but as a diagram. The diagram can then work as a framework for students to follow when writing an essay. This overcomes the teacher' s problem of cut and paste essays, and, by following their own diagram-summary, students have an answer to their familiar questions, Where do I start? What do I write next?

This book is a collection of stories from the Women who are members of the Women's Centre Waitakere, the creative writings and artwork are all contributions from the women. Writing and drawing is an important part of healing. The Women Centre is a not for profit that supports women and their families who are dealing with difficult issues in their life.

Synopsis: Jesse and Poppy have a suicide pact against the time that illness and infirmity make life impossible to continue unassisted. But what becomes of the pact if one falls ill and the other is still healthy? And how do you know when it’s just before being too late? THREE VIEWS OF THE SAME OBJECT offers three different dramatic outcomes to the problems facing the elderly in America. Cast Size: 2 Males, 2-4 Females

NANO Fiction (print ISSN 1935-844X; digital ISSN 2160-939X) is non-profit literary journal that publishes flash fiction—a form of short story also known as micro fiction, micro narrative, micro-story, microrrelatos, postcard fiction, the short short, the short short story, kürzestgeschichten, and sudden fiction—of 300 words or fewer. Featuring twenty to thirty authors in each issue, NANO Fiction has roots that draw from Aesop’s Fables and Zen Koans. Notable practitioners of this prose form include Lydia Davis, Franz Kafka, Italo Calvino, Ignacio Martínez de Pisón, Naguib Mahfouz, and Linor Goralik, among others. This issue of NANO Fiction features works by: Nin Andrews, Matt Bell, Chas Carey,Doug Paul Case, Sarah Eaton, Erika Eckart, Scott Garson, Luke Geddes, Greg Gerke, Nathan Good, Anya Groner, Andrew Kozma, Daniel Lawless, Charles Lennox, Sara Lippmann, Kirsty Logan, Sean Lovelace, Sarah McCartt-Jackson, Shawn Andrew Mitchell, Cheyenne Nimes, Laurie Nye, Carrie Oeding, Michael Palmer, Hannah Pass, Marie Potoczny, Matt Prater, Alissa Riccardelli, Jim Ruland, Nick Sansone, Kathryn Scanlan, Gregory Sherl, Katie Jean Shinkle, Justin Sirois, Eugenia Tsutsumi, and Desmond Kon.

Throughout his long and influential career, Michael Fellman has explored the tragic side of American history. Best known for his path-breaking work on the American Civil War and for an interdisciplinary methodology that utilizes social psychology, cultural anthropology, and comparative history, he has delved into issues of domination, exploitation, political violence, racism, terrorism, and the experiences of war. Incorporating essays written over the past thirty years -- two of them previously unpublished, and the others not widely available -- Views from the Dark Side of American History reveals some of the major personal and scholarly concerns of his career and illuminates his approach to history, research, applied theory, and analysis. Each essay includes a thought-provoking preface and afterword that situate it in its time and explore its intellectual and political contexts. Fellman also grapples with the personal elements of developing as a historian -- the people with whom he argued or agreed with, the settings in which he gave or published the papers, and the subjective as well as historical issues that he addressed. The collection encourages history students, historians, and general readers of history to think through the layers of their historical engagement and to connect their personal experiences and social commitments to their explorations.

Incubator Views is an exciting, moving account in which the author relays a compelling narrative from four different viewpoints-the diametrically opposing perspectives of a Neonatal Intensive Care Unit nurse, the teen mother, her younger brother, and the preemie herself. Incubator Views reveals the preemie's struggle to survive against confounding odds in a harrowing and tragic family life and the crucial transfer to the foster care system. This story is an utterly engaging, vivid, often painful look at the struggle of distinctly different members of a family and those around them at a critical juncture in all of their lives. Liquid warmth and darkness: it surrounded me in a shroud of comfort, a gentle awakening into an awareness of my life and of the womb that held me. I sensed and responded even though I couldn't always understand. The cocoon of peace and solace: mine until I came to sense that I shared in the life of another--larger, stronger. She may have held me in her womb; but somehow I didn't know her. She remained a stranger that carried me down a path, provided for me, yet only acknowledged me with tears. I wondered: have I harmed her? My dependence upon her left me no choice but to wait: observe in a quiet role while our lives together, then separate, unraveled into a dark future unbeknownst to either of us.