Nina

Nina had the feeling that someone was following her ever since she and Gabriella had decided to open up their design business together. She couldn't understand why someone would want to follow her but she just knew someone was by the eerie feeling she had from time to time. She was out looking at properties for their business today while Gabriella and Niko were on their honeymoon. Nina's quest was to find the perfect property to show Gabriella when she got back. The property she was looking at she called the "House of Gables". It was so unique she wanted to get a better look at the grounds around back. While looking at the back property she heard the sound of tires crunching on leaves. Like someone had pulled into the driveway. She wanted to panic, but she knew that wouldn't help, she reached for her cell phone but she had left that and her purse in her vehicle. Damn now what could she do, her Dad was right she should not have come out here alone. Why was she so stubborn and never listened to anyone? She was trapped and no way to call for help. She wondered who this person was and why was he trying to scare her. Well try or not he had definitely succeeded in scaring her half to death. More importantly would she get to see her family again!!

Near the end of Nabokov's Lolita, Humbert makes an honest admission: "[A]nd it struck me…that I simply did not know a thing about my darling's mind." That line sums up the isolate game of memorializing a deceased loved one, which is the basic tension in Nina's Memento Mori, an elegy to Mathias Freese's lost wife. The profound responsibility of answering the question "Who was Nina?" is left to the lone memoirist: I can say or write anything I want about her…There is much writerly power in that. I am the executor of her probate in all things now. She is mine now in ways she could not be when alive. I am the steward of her memory. Freese ends up analyzing himself, putting the "me" in "memento" and the "i" in "mori," thanks to ever-giving Nina posthumously providing a therapeutic mirror or "Rosebud," which Freese appropriates from Citizen Kane. But Freese mourns more over the burden of existence than over its loss. Appropriately, for Kane is not about the symbolic sled as much as it's about the cumulative snow that buries it.

This book examines the deep connection Australians have with their climate to understand contemporary views on human-induced climate change. It is the first study of the Australian relationship with La Niña and it explains how fundamental this relationship is to the climate change debate both locally and globally. While unease with the Australian environment was a hallmark of early settler relations with a new continent, this book argues that the climate itself quickly became a source of hope and linked to progress. Once observed, weather patterns coalesced into recognizable cycles of wet and dry years and Australians adopted a belief in the certainty of good seasons. It was this optimistic response to climate linked to La Niña that laid the groundwork for this relationship with the Australian environment. This book will appeal to scholars and students of the environmental humanities, history and science as well as anyone concerned about climate change.

Tal vez dentro de lo imaginable os parezca algo paranormal, pero para los misterios no existe misterio, de lo cual no se pudiere, la imaginación llegar al mundo invisible que nos rodea, entre lo vivo y la misma muerte; una frontera de la cual algún día brincaremos para el más allá. Pero lo que separa estos dos mundos solo encontrará la respuesta en la leyenda de la Niña de las Sombras en El Reencuentro con la Muerte y el gemir de una alma en pena que vaga entre las sombras, en busca de su mamá, que con los llantos os espantará la imaginación, hasta donde se puede soportal el horror de ultratumba. Porque si de lo terrífico se tratara, la tortura fuera poca comparable con lo que ustedes mis queridos lectores encontraran en esta leyenda del reencuentro con la muerte. Más reitero obviamente que este libro no es acto para menores ni personas cardiacas, ya que su contenido hace un encuentro de emociones, que pudieren parecer reales en cada capítulo; ya que el reencuentro con la muerte podría ser el final pero para la venganza del más allá sea el mundo invisible, en el que no existen fronteras ni escape del castigó de ultratumba cuando un alma vaga en pena entre las sombras como la de esta leyenda de una niña que vio matar su mamá y del sufrimiento que esto le causó se fue al reencuentro con la muerte. La leyenda del reencuentro con la muerte lo que separa la vida de la muerte, más nos enlaza. El Pensador

THE STORY: In this funny, fierce and heartbreaking homage to THE SEAGULL , Steven Dietz puts Chekhov's star-crossed lovers in a room and doesn't let them out. In forty-three variations on their famous final scene, Nina (a young actress) and T

Containing full pedigree of all the imported thorough-bred stallions and mares, with their produce.