Sounds Like Life

Sound-symbolism occurs when words resemble the sounds associated with the phenomena they attempt to describe, rather than an arbitrary representation. For example the word raven is arbitrary in that it does not resemble a raven; cuckoo, however, is sound -symbolic in that it resembles the bird's call. In Sounds Like Life, Janis Nuckolls studies the occurrence of sound-symbolic words in Pastaza Quechua (a dialect of Quechua), which is spoken in eastern Ecuador. The use of sound-symbolic words is much more prevalent in Pastaza Quechua than in any other language, and they symbolize a wider range of sensory perceptions including sounds, rhythms, and visual patterns. Nuckolls uses discourse data from everyday contexts to demonstrate the Quechua speakers' elaborate schematic perceptual structure to describe experience through sound-symbolic language. With words for contact with a surface, opening and closing, falling, sudden realizations, and moving through water and space, Nuckolls finds that sound-symbolism is integral to the Quechua speakers' way of thinking about and expressing their experience of the world.

This updated New York Times bestselling collection of essays by seven-time Grammy nominated singer songwriter Sara Bareilles “resonates with authentic and hard-won truths” (Publishers Weekly)—and features new material on the hit Broadway musical, Waitress. Sara Bareilles “pours her heart and soul into these essays” (Associated Press), sharing the joys and the struggles that come with creating great work, all while staying true to yourself. Imbued with humor and marked by Sara’s confessional writing style, this essay collection tells the inside story behind some of her most popular songs. Well known for her chart-topper “Brave,” Sara first broke through in 2007 with her multi-platinum single “Love Song.” She has since released seven albums that have sold millions of copies and spawned several hits. “A breezy, upbeat, and honest reflection of this multitalented artist” (Kirkus Reviews), Sounds Like Me reveals Sara Bareilles, the artist—and the woman—on songwriting, soul searching, and what’s discovered along the way.

New edition available: Sounds Like Home: Growing Up Black and Deaf in the South, 20th Anniversary Edition, ISBN 978-1-944838-58-4 Features a new introduction by scholars Joseph Hill and Carolyn McCaskill Mary Herring Wright's memoir adds an important dimension to the current literature in that it is a story by and about an African American deaf child. The author recounts her experiences growing up as a deaf person in Iron Mine, North Carolina, from the 1920s through the 1940s. Her story is unique and historically significant because it provides valuable descriptive information about the faculty and staff of the North Carolina school for Black deaf and blind students from the perspective of a student as well as a student teacher. In addition, this engrossing narrative contains details about the curriculum, which included a week-long Black History celebration where students learned about important Blacks such as Madame Walker, Paul Laurence Dunbar, and George Washington Carver. It also describes the physical facilities as well as the changes in those facilities over the years. In addition, Sounds Like Home occurs over a period of time that covers two major events in American history, the Depression and World War II. Wright's account is one of enduring faith, perseverance, and optimism. Her keen observations will serve as a source of inspiration for others who are challenged in their own ways by life's obstacles.

A young woman leaves Appalachia for life as a classical musician—or so she thinks. When aspiring violinist Jessica Chiccehitto Hindman lands a job with a professional ensemble in New York City, she imagines she has achieved her lifelong dream. But the ensemble proves to be a sham. When the group “performs,” the microphones are never on. Instead, the music blares from a CD. The mastermind behind this scheme is a peculiar and mysterious figure known as The Composer, who is gaslighting his audiences with music that sounds suspiciously like the Titanic movie soundtrack. On tour with his chaotic ensemble, Hindman spirals into crises of identity and disillusionment as she “plays” for audiences genuinely moved by the performance, unable to differentiate real from fake. Sounds Like Titanic is a surreal, often hilarious coming-of-age story. Hindman writes with precise, candid prose and sharp insight into ambition and gender, especially when it comes to the difficulties young women face in a world that views them as silly, shallow, and stupid. As the story swells to a crescendo, it gives voice to the anxieties and illusions of a generation of women, and reveals the failed promises of a nation that takes comfort in false realities.

Wendy is a bright spark who wants to find love and travel the world, but she questions how her dreams can become a reality as her world changes around her. When Wendy arrives at her beloved grandmother’s house to collect a box of keepsakes, she picks up more than she bargained for - a green-eyed tabby cat with amazing qualities. This is just the start of a high-speed adventure, leading Wendy towards bright new horizons... if only she’ll give the cat a chance...

It's not just a weekend for Lux Castelo. She has a plan, of course. Phase One: Escape to the beach for a music festival. Phase Two: Deal with what she can't control. Phase Three: Return to reality whole and ready. Nowhere in that plan is Micah Jacinto, self-proclaimed adventurer and the kind of boy with his head stuck in the clouds and the moon inked on his arm-everything her rational sense tells her to stay away from. And yet Lux finds herself welcoming the distraction. As they spend the entire weekend together, Micah leads her to rediscover the lost pieces of herself amidst the excitement and the confusion of a raving mosh pit. But all weekends come to an end and Lux needs to return to the dreaded reality she's running away from. Does being brave enough to leave summer behind mean being brave enough to ask Micah to stay?

THINGS WERE DIFFERENT IN THE CHURCH JESUS STARTED We sing songs to Jesus. We pray to Jesus. But do we really know and understand what Jesus preached? Before you say, “Yes,” and move on, consider these shocking facts: • Most messages preached today have nothing to do with Jesus’ core message • Christian universities that train pastors, missionaries, and priests don’t have courses that teach what Jesus taught, and it’s been this way for hundreds of years • The majority of believers in Christ have little or no understanding of what Jesus said or what He meant when He said it God is realigning His church with the message Jesus preached, and He’s doing it to prepare us for Jesus’ return. Get ready for a journey through the Bible that will help you: • Challenge your Christian experience and knowledge of Jesus’ teachings • Learn the true heart of Christ’s teachings as recorded in God’s Word • Discover the Kingdom life Jesus provided for, exemplified, and taught • Shed any belief barriers that have inhibited your spiritual life to this point • Embrace and renew a walk with God that is alive, growing, fresh, and purposeful

Jesus did not die to save us from God. He died because the Romans did not tolerate charismatic teachers who attracted a lively following. Jesus attracted that following through his personal compassion, his confrontational inclusivity, and his skill in using laughter as a nonviolent weapon of mass disruption. The Gospel authors picked up Jesus' witty techniques. They adeptly parodied the literary conventions of heroic biography, laying out "the kingdom of God" in a point-for-point contrast with the empire of Caesar Augustus. Most of this contrast was Jewish Prophetic Rant, Standard Edition: the God of the Jews had always demanded justice for workers, food for the hungry, care for those unable to earn a living, and an end to monopolizing natural resources for private and imperial profit. Jesus added a fourth and telling point: God is nonviolent. God smites no one. God's loving-kindness and compassionate presence embraces all of humanity equally. We are all the children of God. Then and now, that's a revolutionary claim. It portrays our obligation to the common good as a sacred obligation. It's owed to God. In cultural terms, that's the most potent variety of obligation. This is the cultural heritage at risk from fundamentalism, which portrays God as both crazy-violent and vindictive.