Life After Life

Black, Claudia: Repeat After Me, Mac Publishing July 1991 ISBN: 0910223041
,,When Repeat After Me was first published in the 1980's, it was a time when adult children of alcoholic families were coming out of the closet by the thousands. Until that time these were people who were silently making their way through adulthood not understanding why they were so unsatisfied and unhappy when "everything seemed okay," or why some one thing, person or place "was never enough." For many there was a chronic gnawing sense that something was missing. This great number of people happily took on the identity of being an ACA or ACOA (Adult Child of Alcoholic). They were grateful to have a framework in which to understand and conceptualize their experience. They had been given a language in which to voice their experiences. Yet what was true for this particular population could be generalized to people from other types of troubled families. They were from homes where there were abuses, other addictions, compulsive behaviors or mental illness - homes that for whatever the reasons were characterized by loss and shame. Repeat After Me was written in the spirit of offering all who were raised in troubled families a process of self-exploration, insight and healing that would lead to a positive change in their lives. \n\nAs adults began that process of asking how their childhood was influencing their present day life, the intent was never one of blame but of insight and understanding. It has been the author's contention that we repeat the life scripts of our family as a result of internalized beliefs and behaviors that were either modeled for us or were a part of our survivorship. We cannot put a painful past history behind us without first owning it. It is not enough to say I came from an alcoholic family or an abusive family. We must go beyond that acknowledgment to see how our internalized beliefs and behaviors have shaped us to be the person we are today. With that in mind Repeat After Me was written. \n\nRepeat After Me is not a book that explains how problems come to be as much as it is a book that takes you through a process of letting go of hurtful beliefs and behaviors. While insight is often the precursor to change, insight alone is not enough for most people to create change. People need to believe they deserve positive change and they need to develop skills that make change occur. While many of the changes in this second edition of Repeat After Me are subtle, it is written to support the reader's belief in their personal worth and assist them in identifying and focusing on skills. The knowledge that comes in owning the past and connecting it to the present is vital to developing empathy for the strength of both our defenses and skills. It also helps us to lessen our shame and not hold ourselves accountable for the pain we have carried. When we understand the reasons for why we have lived our life as we have, that understanding fuels our ongoing healing. The change we want to create in our life is made most directly as a result of letting go of old, hurtful belief systems and learning new skills. Repeat After Me guides you in this process.

Condition;Good ,Trade Paperback ,When Repeat After Me was first published in the 1980's, it was a time when adult children of alcoholic families were coming out of the closet by the thousands. Until that time these were people who were silently making their way through adulthood not understanding why they were so unsatisfied and unhappy when "everything seemed okay," or why some one thing, person or place "was never enough." For many there was a chronic gnawing sense that something was missing. This great number of people happily took on the identity of being an ACA or ACOA (Adult Child of Alcoholic). They were grateful to have a framework in which to understand and conceptualize their experience. They had been given a language in which to voice their experiences. Yet what was true for this particular population could be generalized to people from other types of troubled families. They were from homes where there were abuses, other addictions, compulsive behaviors or mental illness - homes that for whatever the reasons were characterized by loss and shame. Repeat After Me was written in the spirit of offering all who were raised in troubled families a process of self-exploration, insight and healing that would lead to a positive change in their lives. \n\nAs adults began that process of asking how their childhood was influencing their present day life, the intent was never one of blame but of insight and understanding. It has been the author's contention that we repeat the life scripts of our family as a result of internalized beliefs and behaviors that were either modeled for us or were a part of our survivorship. We cannot put a painful past history behind us without first owning it. It is not enough to say I came from an alcoholic family or an abusive family. We must go beyond that acknowledgment to see how our internalized beliefs and behaviors have shaped us to be the person we are today. With that in mind Repeat After Me was written. \n\nRepeat After Me is not a book that explains how problems come to be as much as it is a book that takes you through a process of letting go of hurtful beliefs and behaviors. While insight is often the precursor to change, insight alone is not enough for most people to create change. People need to believe they deserve positive change and they need to develop skills that make change occur. While many of the changes in this second edition of Repeat After Me are subtle, it is written to support the reader's belief in their personal worth and assist them in identifying and focusing on skills. The knowledge that comes in owning the past and connecting it to the present is vital to developing empathy for the strength of both our defenses and skills. It also helps us to lessen our shame and not hold ourselves accountable for the pain we have carried. When we understand the reasons for why we have lived our life as we have, that understanding fuels our ongoing healing. The change we want to create in our life is made most directly as a result of letting go of old, hurtful belief systems and learning new skills. Repeat After Me guides you in this process.

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BRANTEGHEM, Guilielmus de. Extremely rare and important devotional post-incunable: the first French edition of the lavishly illustrated 'Life of Christ' by a Carthusian monk from Antwerp La vie de nostre Seigneur Jesu Christ par figures, selon le texte des quattre evangelistes, avec toutes les evangiles epistres & propheties de toute lannee, chantee en loffice de la Messe, avec aucunes oraisons. Antwerp, Adriaan Kempe de Bouchot & Matthieu Crom, 1539.
Extremely rare first and only lavishly illustrated edition of the French translation of the Dutch original (<I>Dat leven ons heeren Christi Jesu</I>, printed by Matthieu Crom for Adriaan Kempe de Bouchout in Antwerp in 1537; <I>NK</I> III, nr. 4202) by the Carthusian Guilielmus de Branteghem (Alost, 1480 - Antwerp, ca. 1537). A Latin edition (<I>Jesu Christi vita</I>, was printed in the same year by the same printers, leaving out 4 of the woodcuts (Hollstein, vol. 53, Lieven de Witte, nrs. 48. 60, 62 and 105). The second Dutch edition appeared already in the next year, 1538, followed by the first edition in French, to which our copy belongs. In this French edition are two blocks lacking (Hollstein, nrs. 67 and 100) that are included in the first Dutch edition. Blocks 23, 56 and 183 are used twice (resp. p. 43, 160 and 156). What Hollstein doesn't mention, however, is the fact that block 35 comes (more properly!) after nr. 45, and that there is one new block after nr. 133 on p. 211 of a besieged town, not mentioned by Hollstein! It is a woodcut illustrating 'Jesus pleure sus Jerusalem'; it fact, however. it is an illustration of the capture of Jerusalem, a woodcut earlier used in Branteghem's <I>Historien ende profecien </I>(1535), copied after an illustraton in the <I>Biblische Historien</I> by Hans Sebald Beham (Frankfurt 1533). <B><I>The text of our edition is enlarged, however, with the prayers which were added after the different episodes.</I></B>Lieven de Witte (ca. 1503 - 1578) was a painter, designer of stained glass windows and book illustrator, who sympathized with the Reformation. He was fined several times, f.e. in 1528 and 1540. His name as the designer of the woodcuts in this book is known from an acrostic by Georgius Cassander printed in the Latin edition: the first letters form the name 'Levinus de VVitte Gandensis'. It is very exceptional that the name of the illustrator is made known in the book containing his illustrations. For further details on his life, see Veldman & Van Schaik, p. 22-24.Willem van Branteghem was born in Alost ca. 1480 and professed early in the 16th century in the Carthusian monastery at Ghent. During the years 1527-30 he was a monk in the Carthusian monastery nearby Delft and from there he returned to Antwerp where he died with the Carthusians in the same year he published his Dutch original of this Life of Christ (1537), the most lavishly illustrated devotional book he wrote.Our French edition is roughly divided in three parts: After (a) the 'Copy du privilege', dated Brussels, 17 December 1537 (p. (2-3)), (b) the very interesting dedication letter (and preface) by Guillaume Branteghem to his 'Cousin Adrian de Heetuel(d), Receveur (steward) de Zelandre', dated Ghent, 25 December 1537, in which he explains that he has written the book for devotional reasons and has it extensively illustrated especially also for the illitterates (p. (4-15)), and (c) the chapter 'Leternelle incarnation de Christ, venant du pere', preceded by the tetragram vignette follow:- (1) a Gospel-harmony, the life of Christ according to the four Evangelists with added prayers (p. 1-254): beginning with 'La generation de Jesu Christ' and further following accurately the descriptions by the four Evangelists of the different episodes of Christ's life in chronological order, which are all illustrated with the 153 woodcuts. '<B><I>Never in the history of art is the contents of the four Gospels so accurately and correctly pictured as in these woodcuts</I></B>' (Prof. Veldman). - (2) 'La Passion': the history of the passion of Christ, also according to the four Evangelists and illustrated with 30 woodcuts, and - (3) the 'Table pour les Epistres & Evangiles, qui sont leutes & chantees en leglise au long de lannee, avec aucunes propheties', a Lectionary containing the texts to be read during the Mass (a) from the first Sunday of the Advent to the 25th Sunday after Trinity (p. (1-141)); = the Temporal) with 2 half-page and one full-page woodcuts and (b) read during the days of the Saints, the Sanctuale (p. (142-175)).
Very good copy of this rare devotional work.- (Some of the pagination numbers shaved; two annotations in ink on the title, one a faded ownership's entry, dated 1674 (' ... Congr. S. Marci (?)' ).
NK 490 (3 copies: Brussels, RL and London, BL & St. Paul's); Adams B-1829; <I>STCDutch</I>, p.33; not in Machiels; Hollstein 53, p. 231-280 (Lieven de Witte, nrs. 1-188, all illustr.); Funk, p. 286; Delen. <I>Hist. de la grav</I>., p. 55; Rouzet, <I>Dict</I>., p. 111; <I>Biogr. Nat. de Belg</I>. 16, cols. 12-5; <I>Nat. Biogr. woordenb</I>. 6, cols. 50-1; I. Veldman & K. van Schaik, <I>Verbeelde boodschap. De illustraties van Lieven de Witte bij 'Dat leven ons Heeren' (1537)</I> (1989), esp. p. 17-21, with illustrations of all the woodcuts, including the vignettes and tail-pieces.

8vo. Modern violet morocco, spine ribbed and lettered in gold, gilt lines on binding edges and inside covers, marbled endpapers, g.e. Full-page woodcut title: Moses with the Tables of the Law and the Descent of the Holy Ghost (115x78mm) with title and mention of the privilege in letterpress and a woodcut tail piece underneath; full-page woodcut border with the instruments of the passion and the flagellation for the beginning of "La Passion" on p. 255; 2 full-page woodcuts: (1) the Lineage of Christ, according to Matt. 1:1-16 (111x76mm.) and (2) the Descent of the Holy Ghost, Acts 2:1-13 (113x75mm); 185 half-page woodcuts (ca. 50x70mm.): 153 in the Life of Christ, 30 in the Passion and 2 in the Table; a few blocks used twice). The woodcuts are designed, and perhaps also cut (?), by Lieven de Witte; numerous tail-pieces and 28 small vignettes representing the tetragramme and biblical quotations (Veldman & Van Schaik (1989), figs. v and 187-208), used repeatedly for filing the blank spaces (sometimes more than one tail-piece - on p. (16) even 7 - on top of each other), and many charming woodcut initials. (16), 1-128, 119-294, (176) pp.- Collation: +8, A-Z8, a-g8 (248 lvs.).

[SW: 16th Century;Woodcuts;Post Incunabula;Devotion;Low Countries;Illustrated Books]

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Thesman, Jean: The Rain Catchers, Avon August 1, 1992 ISBN: 0380717115
,,Grade 7-12-- Grayling, 14, lives with her grandmother, a great aunt, two women who are cousins, and a retired African-American doctor in her grandmother's house on the outskirts of Seattle. Along with her best friend, Colleen, who visits to get away from her difficult home life, Grayling enjoys this company of women who, daily, especially at teatime, turn their lives into stories. She likes the way in which they have captured the past to give each incident and person a beginning, a middle, and an end. Her own story has only a beginning and a middle, for after her father was killed by a robber shortly after she was born, her mother left her with the older women and went to San Francisco. She knows that the storytellers haven't been able to understand why this happened and thus can't finish her story with her. After her great aunt dies of cancer, Grayling goes to visit her mother who suggests that she is old enough to live there, and Grayling goes in hopes of finding out more of her story. When she has a strange and frightening interaction with a street person, she is finally able to prod her mother into revealing that she left out of fear, and that she lives her life by running away. Grayling realizes that she has become like her storytellers in wanting to address her fears and turn them into stories. This elegantly written, slow-moving novel grounds what could be melodramatic events with richly drawn characters and powerful prose. It is a beautiful story, with elderly characters who exhibit a loving and gracious reaction to life. Readers will be glad that Grayling can share it. --Barbara Chatton

Condition;Good ,Paperback ,Grade 7-12-- Grayling, 14, lives with her grandmother, a great aunt, two women who are cousins, and a retired African-American doctor in her grandmother's house on the outskirts of Seattle. Along with her best friend, Colleen, who visits to get away from her difficult home life, Grayling enjoys this company of women who, daily, especially at teatime, turn their lives into stories. She likes the way in which they have captured the past to give each incident and person a beginning, a middle, and an end. Her own story has only a beginning and a middle, for after her father was killed by a robber shortly after she was born, her mother left her with the older women and went to San Francisco. She knows that the storytellers haven't been able to understand why this happened and thus can't finish her story with her. After her great aunt dies of cancer, Grayling goes to visit her mother who suggests that she is old enough to live there, and Grayling goes in hopes of finding out more of her story. When she has a strange and frightening interaction with a street person, she is finally able to prod her mother into revealing that she left out of fear, and that she lives her life by running away. Grayling realizes that she has become like her storytellers in wanting to address her fears and turn them into stories. This elegantly written, slow-moving novel grounds what could be melodramatic events with richly drawn characters and powerful prose. It is a beautiful story, with elderly characters who exhibit a loving and gracious reaction to life. Readers will be glad that Grayling can share it. --Barbara Chatton

[SW: Avon Flare Book]

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Rhys, Jean; with Intro By Diana Athill and phots by Brassai: Jean Rhys: The Complete Novels....Voyage in the Dark / Quartet / After Leaving Mr Mackenzie / Good Morning, Midnight / Wide Sargasso Sea, Scranton, Pennsylvania, U.S.A. W W Norton & Co Inc 1985
ISBN: 0393022269 Very Good Plus Photos By Brassai

....Large format soft cover (not large print), 574 pages, tight clean and square, no names or writing, no indication of reprint, minor edge wear/readers crease, check out the scan. " The first two novels follow Jean Rhys's life closely, Anna Morgan, in "Voyage in the Dark", shares with her a West Indian childhood, her experience as a chorus girl, and her first love affair; Marya Zelli, in "Quartet", follows Jean Rhys to Paris, where, like her creator, she sees her husband sent to prison and is drawn into a disturbing "menage a trois" with a writer and his wife. The two older women, Julia Martin in "After Leaving Mr. Machenzie" and Sasha Jensen in "Good Morning, Midnight", take us deeper. Julia must face the kind of "respectable" life into which she cannot or will not fit. And Sasha finally is brought into confrontation with her innermost self. On the surface, "Wide Sargasso Sea" - brilliant reinterpretation of the events of "Jane Eyre" from the alternating viewpoints of Mr. Rochester and his "mad wife" - may seem the least autobiographical, but it too is, in Diana Athill's words, "as closely linked to her life as her other work, through on a different level." Contents include: Voyage in the Dark / Quartet / After Leaving Mr Mackenzie / Good Morning, Midnight / Wide Sargasso Sea. Any image directly beside this listing is the actual book and not a stock photo! Unknown Edition Soft Cover 8vo - over 7¾" - 9¾" tall

[SW: FICTION FICTIONAL WORKS AUTHOR LITERARY....Large format soft cover (not large print), 574 pages, tight clean and square, no names or writing, no indication of reprint, minor edge wear/readers crease, check out the scan. " The first two novels follow Jean Rhys's life closely, Anna Morgan, in "Voyage in the Dark", shares with her a West Indian childhood, her experience as a chorus girl, and her first love affair; Marya Zelli, in "Quartet", follows Jean Rhys to Paris, where, like her creator, she sees her husband sent to prison and is drawn into a disturbing "menage a trois" with a writer and his wife. The two older women, Julia Martin in "After Leaving Mr. Machenzie" and Sasha Jensen in "Good Morning, Midnight", take us deeper. Julia must face the kind of "respectable" life into which she cannot or will not fit. And Sasha finally is brought into confrontation with her innermost self. On the surface, "Wide Sargasso Sea" - brilliant reinterpretation of the events of "Jane Eyre" from the alternating viewpoints of Mr. Rochester and his "mad wife" - may seem the least autobiographical, but it too is, in Diana Athill's words, "as closely linked to her life as her other work, through on a different level." Contents include: Voyage in the Dark / Quartet / After Leaving Mr Mackenzie / Good Morning, Midnight / Wide Sargasso Sea. Any image directly beside this listing is the actual book and not a stock photo!]

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