Living Well Is The Best Revenge

First published in 1977, and now available for a younger generation with a new introduction by the author, Living Well Is the Best Revenge is Calvin Tomkins's now-classic account of the lives of Gerald and Sara Murphy, two American expatriates who formed an extraordinary circle of friends in France during the 1920s. First in Paris and then in the seaside town of Antibes, they played host to some of the most memorable artists and writers of the era, including Cole Porter, Pablo Picasso, Fernand Legér, Ernest Hemingway, and Scott and Zelda Fitzgerald. Gerald Murphy was himself an accomplished painter, though he practiced for only eight years, from 1922 to 1929. Responding to the paintings he saw in Paris with an American sensibility, he produced fifteen works, seven of which survive and one of which is in the collection of The Museum of Modern Art. Illustrated with nearly seventy photographs from the Murphy family album and featuring a special section on Gerald Murphy's paintings, Living Well Is the Best Revenge is a Lost Generation chronicle as charming and fascinating as the couple themselves.

A portrait of American expatriates Gerald and Sara Murphy, focusing on their lives in Paris in the 1920s.

What is it like to live with dissociative identity disorder? How does the brain respond to chronic, extreme trauma? Is recovery possible from such suffering? In this combined first and second volumes of her collected essays, Carolyn Spring writes candidly from a number of perspectives about her experiences of living with trauma-related dissociation, and her journey of recovery over ten years. Topics covered include such as shame, denial, child sexual abuse, the complex meanings of 'madness' and the multi-layered subjective experience of a dissociative mind. It is a series of standalone chapters or essays which build on one another to provide not only a unique insight into trauma, attachment and dissociation, but also the long and arduous - but ultimately fulfilling - recovery journey. REVIEWS "A powerful, insightful read. Carolyn's honest, brave, intelligent and poetically written essays about living with and recovering from DID are a real gift. I read it from cover to cover, and then began all over again." "Superbly helpful. This book is excellent both as a resource for professionals and a helpful aid to accompany those recovering from trauma, from someone who has pieced their life back together. It's been one of the most helpful books for myself as someone recovering with DID to see so much of my confusion mirrored and explained and then reassured with options and working strategies." "Inspires hope. Beautifully and intelligently written, giving hope and optimism for the future for all trauma survivors, and a must read for therapists." "Inspiring. This book was both interesting and inspirational in both content and subject matter. Having heard the author teach, I can vouch for her eloquence as much in writing now as in her spoken word. Her message is one to be spread. Her experiences and journey of self-awareness and acceptance give others hope and therapists a unique insight into trauma work." "Beautiful. Such poignancy and elegantly written, an inspiration to recovery, its journey and what that can look like. Thank you - it's great to feel connected and seen." "Excellent. This is an amazing account and glimpse into the world of someone who suffers with dissociative identity disorder as a result of extreme childhood trauma and the recovery process. Excellently written, poignant, challenging at times. Wonderful insight into the therapeutic process from the client's perspective. I have gained so much from reading this. Highly recommended."

This book uses scientific validity measures to create empirical value science and a normative new science of axiological psychology by integrating cognitive psychology with Robert S. Hartman's formal theory of axiological science. It reveals a scientific way to identify and rank human values, achieving values appreciation, values clarification, and values measurement for the twenty first century.

Cold honesty, grudging acceptance, and sweet revenge: facing down the demons in small-town New Hampshire.

“An intense snapshot of the chain reaction caused by pulling a trigger.” —Booklist (starred review) “Astonishing.” —Kirkus Reviews (starred review) “A tour de force.” —Publishers Weekly (starred review) A Newbery Honor Book A Coretta Scott King Honor Book A Printz Honor Book A Time Best YA Book of All Time (2021) A Los Angeles Times Book Prize Winner for Young Adult Literature Longlisted for the National Book Award for Young People’s Literature Winner of the Walter Dean Myers Award An Edgar Award Winner for Best Young Adult Fiction Parents’ Choice Gold Award Winner An Entertainment Weekly Best YA Book of 2017 A Vulture Best YA Book of 2017 A Buzzfeed Best YA Book of 2017 An ode to Put the Damn Guns Down, this is New York Times bestselling author Jason Reynolds’s electrifying novel that takes place in sixty potent seconds—the time it takes a kid to decide whether or not he’s going to murder the guy who killed his brother. A cannon. A strap. A piece. A biscuit. A burner. A heater. A chopper. A gat. A hammer A tool for RULE Or, you can call it a gun. That’s what fifteen-year-old Will has shoved in the back waistband of his jeans. See, his brother Shawn was just murdered. And Will knows the rules. No crying. No snitching. Revenge. That’s where Will’s now heading, with that gun shoved in the back waistband of his jeans, the gun that was his brother’s gun. He gets on the elevator, seventh floor, stoked. He knows who he’s after. Or does he? As the elevator stops on the sixth floor, on comes Buck. Buck, Will finds out, is who gave Shawn the gun before Will took the gun. Buck tells Will to check that the gun is even loaded. And that’s when Will sees that one bullet is missing. And the only one who could have fired Shawn’s gun was Shawn. Huh. Will didn’t know that Shawn had ever actually USED his gun. Bigger huh. BUCK IS DEAD. But Buck’s in the elevator? Just as Will’s trying to think this through, the door to the next floor opens. A teenage girl gets on, waves away the smoke from Dead Buck’s cigarette. Will doesn’t know her, but she knew him. Knew. When they were eight. And stray bullets had cut through the playground, and Will had tried to cover her, but she was hit anyway, and so what she wants to know, on that fifth floor elevator stop, is, what if Will, Will with the gun shoved in the back waistband of his jeans, MISSES. And so it goes, the whole long way down, as the elevator stops on each floor, and at each stop someone connected to his brother gets on to give Will a piece to a bigger story than the one he thinks he knows. A story that might never know an END…if Will gets off that elevator. Told in short, fierce staccato narrative verse, Long Way Down is a fast and furious, dazzlingly brilliant look at teenage gun violence, as could only be told by Jason Reynolds.

New York Times Bestseller: “A marvelously readable biography” of the couple and their relationships with Picasso, Fitzgerald, and other icons of the era (The New York Times Book Review). Wealthy Americans with homes in Paris and on the French Riviera, Gerald and Sara Murphy were at the very center of expatriate cultural and social life during the modernist ferment of the 1920s. Gerald Murphy—witty, urbane, and elusive—was a giver of magical parties and an acclaimed painter. Sara Murphy, an enigmatic beauty who wore her pearls to the beach, enthralled and inspired Pablo Picasso (he painted her both clothed and nude), Ernest Hemingway, and F. Scott Fitzgerald. The models for Nicole and Dick Diver in Fitzgerald’s Tender Is the Night, the Murphys also counted among their friends John Dos Passos, Dorothy Parker, Fernand Léger, Archibald MacLeish, Cole Porter, and a host of others. Far more than mere patrons, they were kindred spirits whose sustaining friendship released creative energy. Yet none of the artists who used the Murphys for their models fully captured the real story of their lives: their Edith Wharton childhoods, their unexpected youthful romance, their ten-year secret courtship, their complex and enduring marriage—and the tragedy that struck them, when the world they had created seemed most perfect. Drawing on a wealth of family diaries, photographs, letters and other papers, as well as on archival research and interviews on two continents, this “brilliantly rendered biography” documents the pivotal role of the Murphys in the story of the Lost Generation (Los Angeles Times). “Often considered minor Lost Generation celebrities, the Murphys were in fact much more than legendary party givers. Vaill’s compelling biography unveils their role in the European avant-garde movement of the 1920s; Gerald was a serious modernist painter. But Vaill also shows how their genius for friendship and for transforming daily life into art attracted the most creative minds of the time.” —Library Journal