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A personal resource for women who have been accused of undue anger offers counsel on how to both allow oneself to experience a healthy range of strong feelings and forgive, drawing on the stories of everyday women as well as the author's own experiences to explain how to use anger as an appropriate catalyst for change and communication without becoming consumed. Original.
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A frank and moving memoir of a lifetime of failed relationships with men--andthe redeeming power of motherhood--from the cyber celebrity who pioneered theon-line confessional.
This essential book for all quilters and quilt collectors tells the fascinating story of quilting around the world, illuminated by the international quilt community’s top experts and more than 300 glorious color photographs. Covering Japan, China, Korea, and India; England, Ireland, France, and The Netherlands; Australia, Africa, Central America, North America, and beyond, Quilts Around the World explores both the diversity and common threads of quilting. Discover Aboriginal patchwork from Australia, intricate Rallis from the Middle East, Amish and Hawaiian quilts from the United States, Sashiko quilts from Japan, vivid Molas from Central America, and art quilts from every corner of the globe. Also included are twenty patchwork and applique patterns to use in your own quilt projects, inspired by designs from the world’s most striking quilts.
Spike Gillespie tells it like it is. Whether she's writing about men, mothering or money, she cuts to the chase, unabashedly recounting the exhilaration and uncertainty she is forever encountering along the odd path that is her life. Gillespie approaches her subjects with a keen eye for curious details and a readiness to ask hard questions and give honest, even brutal, answers. Her willingness to "put it all down—the painful, the funny, the mundane, the embarrassing" has won legions of readers for her print and online columns. Surrender (But Don't Give Yourself Away) collects forty-six essays, which initially appeared in such publications as the Washington Post, Austin Chronicle, Dallas Mo...
"Spike Gillespie is beautiful, charming, and funny. She told me to write that. It's also true, especially the funny part. Some of us are just a lot more alive than others, and Spike is one of those people who lives at 90 m.p.h. while experiencing everything that happens to her with an intensity that is either painful or hilarious, but usually both. If you can imagine Anne Lamott as a working-class kid from Jersey with a penchant for losers, you have an idea of Spike. She's a woman grown now and signs of wisdom are setting in, not that many years but a lot of mileage on the woman. As a writer, what she brings to the mountains of baggage in her life is not only humor but incurable honesty. I t...
Quilty as Charged is not a history or how-to-guide; it is a collection of many small stories, including Gillespie's, stitched together in the spirit of quilting, separate scraps made into a cohesive cloth.
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Some women have trouble with men. For Spike Gillespie, a widely followed online journalist, those problems started early with her father -- the first and most important man in any child's life. Spike's relationship with her emotionally distant parent was so flawed that she has had an unending series of disasters with men...from the day she first noticed them to the day she made one of her own -- her perfect little boy, Henry. In a memoir of sometimes lacerating honesty, Spike Gillespie tells us the story of her life with men -- a blunt, moving, and profoundly revealing account that asks all the hardest questions about love between the sexes. All the Wrong Men and One Perfect Boy isn't a memo...
In Film Blackness Michael Boyce Gillespie shifts the ways we think about black film, treating it not as a category, a genre, or strictly a representation of the black experience but as a visual negotiation between film as art and the discursivity of race. Gillespie challenges expectations that black film can or should represent the reality of black life or provide answers to social problems. Instead, he frames black film alongside literature, music, art, photography, and new media, treating it as an interdisciplinary form that enacts black visual and expressive culture. Gillespie discusses the racial grotesque in Ralph Bakshi's Coonskin (1975), black performativity in Wendell B. Harris Jr.'s Chameleon Street (1989), blackness and noir in Bill Duke's Deep Cover (1992), and how place and desire impact blackness in Barry Jenkins's Medicine for Melancholy (2008). Considering how each film represents a distinct conception of the relationship between race and cinema, Gillespie recasts the idea of black film and poses new paradigms for genre, narrative, aesthetics, historiography, and intertextuality.