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"When two fighters of equal ability and speed are matched . . . there is a greater advantage to the one who knows how to break the rhythm."
-Bruce Lee

Rhythm is a blessing. By rhythm we dance, sing, clap, walk and breathe.

Beyond the blessing is the Giver of Rhythm, who sometimes calls us past the patterns and habits we have established for ourselves into new understanding, new risk, new faith, hope and love.

In those moments we have to decide where to place our trust: in God or in our precious rhythms.

Spoken word poet Amena Brown has made rhythm her life's work. In Breaking Old Rhythms she explores how we discover by rhythm both our God-given limitations and potential, and the ways we limit God's work in our lives. Read this book and be reminded, and encouraged, that while God has rhythm, God is love, and God's love carries us beyond our rhythms into a fuller, more fulfilling life.

• Sales Rank: #1130025 in eBooks
• Published on: 2013-02-25
• Released on: 2013-02-25
• Format: Kindle eBook

Review
"Spoken-word artist Amena Brown's book, Breaking Old Rhythms, reminds us that God calls us beyond the patterns and habits we've established and into a new way of living and breathing and being." (Relevant Magazine, May/June 2013)

"Amena Brown has crafted an original and powerful look at the rhythms that make up our lives and the one who sets the beat for us to follow. . . . this would be an excellent book for those in the church, both young adults and older, disenchanted disciples, who are seeking answers to questions of identity and purpose." (Todd Edmondson, Englewood Review of Books, Lent 2013)

". . . a refreshing read from a voice that is rarely included in faith and motivational circles." (Publishers Weekly, February 11, 2013)

"Sculpting and painting words into eloquent and raw poetry seems to be the breath of Amena Brown. Breaking Old Rhythms is a call for all who find themselves stuck in the mundane, drawing us to risk, push and open our full potential--all the while realizing we have and always will be completely seen and completely loved by the One who started the creating." (Lisa Gungor, singer-songwriter)

"Amena Brown uses words to fill the soul like music. In Breaking Old Rhythms she creatively explores the idea that we all have a life rhythm, and that God is often found in the most unexpected places." (Michael Gungor, singer-songwriter)

"Breaking Old Rhythms reminds us of God's passion to rewrite the soundtracks of our lives with faithful, redemptive love. Warm, poignant and deeply soulful, Amena Brown invites us into her story, showing us how to let go and embrace God. Spoken word indeed." (Jo Saxton, author of More Than Enchanting)

"Amena Brown's soulful, joyful, beautiful voice is a true gift to anyone who has the privilege of hearing it. This work is no exception, and I found myself so refreshed by the unique way Amena shares her personal journey and passion for Jesus. This book is inspiring, encouraging and challenging--a true wake-up call to the highest end of becoming who God has created you to be. Amena is not willing to settle for old rhythms or worn-out, hopeless patterns, and refuses to let anyone else to settle either. Poetry, song lyrics, stories, photos, ideas, joy, sadness and deep imagery make for a beautiful work written, so that by the end you feel as if you know both Amena and yourself that much better. This book was a joy to read!" (Jeanne Stevens, lead pastor, Soul City Church, Chicago)

"Through her beautiful style and thoughtful expression, Amena artfully fractured my structured rhythm to challenge me to consider a new perspective of God's work in my life and faith." (Jenni Catron, executive director of Cross Point Church and coauthor of Just Lead!)

Amena fuses God’s truth with the reality of the rhythms of life. . . . [She] challenges us to not settle for less than the beauty of what God creates us each to be. (Dan Kimball, from the foreword)

"Amena Brown is a gift--a breathtaking blend of poet, prophet and pioneer. Her life and words will bless your soul." (Margaret Feinberg, www.margaretfeinberg.com, author of Scouting the Divine and Wonderstruck)

"As a poet and a dancer, Brown sets about exploring creative ways for finding and moving to the rhythm that God creates all around us. . . . A lot of thought, time, and experience have gone into this small book. Brown shows her heart and her story for all to read, and it makes this book very moving and endearing." (David Osborne, Transpositions, February 22, 2016)

About the Author
Amena Brown is a poet, speaker, journalist and event host from Atlanta, Georgia. The author of a chapbook and two spoken word CDs, Brown has performed and spoken at events across the nation such as The RightNow Conference, Creativity World Forum, Catalyst Conference, Chick-fil-A Leadercast, the 2008 National Poetry Slam Competition, as well as touring with Gungor. She and her husband, Matt ""DJ Opdiggy"" Owen travel and perform ""God.Rhyme.Reason."" a presentation of poetry, monologue and deejaying on doubt, faith and hope. Brown is also journalist for numerous blogs, magazines and newspapers in the Atlanta area.

Most helpful customer reviews

2 of 2 people found the following review helpful.
Deep water swim
By Karin F. Fendick
When I was asked to review Breaking Old Rhythms:Answering the Call of a Creative God I wasn't really sure what to expect. I had no knowledge of the author Amena Brown but felt a pull to dive in.

The call to dive began to make sense as I started reading, for these are deep waters indeed; but what a joy to swim in!

Brown shares in a voice that vibrates with poetic rhythm slicing through to find the truth of life and love and God. She writes:

"We are like instruments in God's orchestra. That means if we want to be a part of the symphony, we have to learn to follow God's beat. We are like bones in a body--growing, stretching, discovering and sometimes breaking. God's rhythm is surgical, breaking, healing and mending where we have grown crooked. We are like trees, extending our branches toward the light. God's rhythm is the post he ties us to, to make sure we grow straight, with roots growing deep into the soil."

I found my own reading rhythm interrupted by the need to add highlighting to my Kindle version again and again, or to take time to type quotes into my Facebook status.

Yes, it is that good.

There are so many more passages I want to share with you, but instead I'll just urge you to grab this book for your own library. You'll return to the words many times.

I received a complimentary copy of this book. The opinions I have expressed are my own.

1 of 1 people found the following review helpful.
A Poet who writes more than poetry
By YoSteve
I find Breaking Old Rhythms difficult to describe. On the one hand, the book reflects on life with God and our walk/jog/dance with Him. On the other hand, the book is a collection of insightful poetry and poetic prose. Brown's writing is full of challenges. And it was a joy to read.

Two of her core ideas connected with me on this reading ...

The way we live our lives can be well summed-up by the concept of rhythm. We all have a rhythm. Rhythm is powerful. Even God has a rhythm. Day by day and week by week. Life goes by in rhythm

Answering God's call looks like adapting our rhythm to His rhythm. We have to make a break with our old rhythm and jump in with Him. And His rhythm begins to shape the way we live our lives. But in order to do this, we have to make a break.

Breaking Old Rhythms is a quick and strong read. Definitely worth checking out.

1 of 1 people found the following review helpful.
Honest, Humorous, Engaging
By B. Atwood
Amena Brown is an absurdly talented spoken word artist, fearless of speaking the truth through arresting rhymes and wordplay. In her first book, Breaking Old Rhythms: Answering the Call of a Creative God, she's written an honest, humorous, engaging work that encapsulates her passions for music, dance, her husband, and, above all, God.

As a drummer, I especially appreciated this line:

"Watching the interplay between an upright bassist, a keys player and a trumpet player--the way they listen to each other, riff off one another's notes and complement each other's solos--echoes Jesus' humility to me, the mystery and holiness of the Trinity, and the way prayer is a dialogue between the infinite and finite."

Her stories and honesty broke my rhythms in a good, lasting way. "Breaking" is a recommended read.

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~~ Ebook Download The Unfolding of Language: An Evolutionary Tour of Mankind's Greatest Invention, by Guy Deutscher

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Blending the spirit of Eats, Shoots & Leaves with the science of The Language Instinct, an original inquiry into the development of that most essential-and mysterious-of human creations: Language

Language is mankind's greatest invention-except, of course, that it was never invented." So begins linguist Guy Deutscher's enthralling investigation into the genesis and evolution of language. If we started off with rudimentary utterances on the level of "man throw spear," how did we end up with sophisticated grammars, enormous vocabularies, and intricately nuanced degrees of meaning?

Drawing on recent groundbreaking discoveries in modern linguistics, Deutscher exposes the elusive forces of creation at work in human communication, giving us fresh insight into how language emerges, evolves, and decays. He traces the evolution of linguistic complexity from an early "Me Tarzan" stage to such elaborate single-word constructions as the Turkish sehirlilestiremediklerimizdensiniz ("you are one of those whom we couldn't turn into a town dweller"). Arguing that destruction and creation in language are intimately entwined, Deutscher shows how these processes are continuously in operation, generating new words, new structures, and new meanings.

As entertaining as it is erudite, The Unfolding of Language moves nimbly from ancient Babylonian to American idiom, from the central role of metaphor to the staggering triumph of design that is the Semitic verb, to tell the dramatic story and explain the genius behind a uniquely human faculty.

• Sales Rank: #117773 in eBooks
• Published on: 2006-05-02
• Released on: 2006-05-02
• Format: Kindle eBook

From Publishers Weekly
Using language himself in a lively and engaging way, Deutscher, an expert in Semitic languages at the University of Leiden in Holland, identifies two principles—the desire to create order out of chaotic reality, and the urge to vary the sounds of words and their meanings—providing the direction by which language developed and continues to develop. Rather than search for the prehistoric moment when speech originated, Deutscher says we can most profitably understand the phenomenon by taking the present as the key to the past. Using a wide array of examples, he delves into the back-formation of words (making a noun into a verb), the evolution of relative clauses from simple pointing words (that, this) and the turning of objects into nouns. On the question of whether language is innate, Deutscher takes a middle path, asserting that our brains are wired for basic language, but that linguistic complexity is brought about by cultural evolution. Deutscher's entertaining writing and his knack for telling a good tale about how words develop offer a delightful and charming story of language. (June 1)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
The linguistic chain that connects the boasts of an ancient Sumerian monarch to the jests of Groucho Marx is long and convoluted, but Deutscher retraces it, fascinating link by fascinating link, identifying the dynamic processes that have continuously transformed and renewed the world's diverse languages. Even when delving deeply into ancient manuscripts and temple engravings, Deutscher interprets every linguistic mutation as the consequence of evolutionary forces still observable in today's living languages. Readers see in linguistic fossils from Mesopotamia traces of the same conversion of living metaphor into conceptual lattice still taking place in modern English, German, and Indonesian. What Deutscher demonstrates most clearly is how linguistic structures that look like the product of deliberate artifice can emerge from entirely natural processes. Predictably, when he probes the linguistic developments before the advent of writing, the author must frequently substitute his own speculations for solid evidence. Entailing just enough technical detail to tempt readers into professional sources (listed at the book's conclusion), this introduction to fundamental linguistic principles opens to nonspecialists a rich theoretical vista. Bryce Christensen
Copyright © American Library Association. All rights reserved

Review
“A lively and thought-provoking exploration of why language change appears to be haphazard yet is fundamentally orderly. Exciting, witty, and a masterpiece of contemporary scholarship.”
—Elizabeth Closs Traugott, Professor Emeritus of Linguistics and English, Stanford University

“At last, an entertaining and readable book that presents the most current views on language and its evolution.”
—Joan Bybee, Professor of Linguistics, University of New Mexico

“Thoroughly enjoyable... Guy Deutscher is an erudite and entertaining guide through the paradoxes and complexities of language evolution.”
—Gene Gragg, Professor Emeritus of Linguistics, University of Chicago

Most helpful customer reviews

11 of 11 people found the following review helpful.
Bursting with new ideas
By Chris Crawford
I've read a goodly amount of material on linguistics, so I expect each new book to go over much the same ground as previous books, but this one took me by surprise -- it's chock full of new and interesting ideas. Other reviewers have already explained the basic structure of the book; allow me to offer some of the tidbits that stuck to my mind:

1. The concept of erosion. People always shorten words, cut off consonants, simplify vowels. His working example, and an excellent one it is, is "gonna", an eroded form of "going to". Erosion wears down words to the point that they start to lose expressiveness, at which point people tack on something else to clarify their meaning. He presents one case of a French word; I can't recall the details but here's an analogy: suppose that "gonna" someday gets eroded to 'gon' and later to 'g'. At some point, people will need to flesh it out, so perhaps they'll tack 'will' onto it to get 'gwill', which in turn might get eroded down to 'gill'. And so on and on and on. Many of the words in our language are eroded, compressed, multi-layer fossils of much longer original expressions.

2. Complementing erosion is back-formation, a process by which people extend patterns in the language to other words. One example might be the child who says, "I goed with mommy." The trick is, there are lots of patterns scattered all through the language, and ofttimes a pattern can be recruited to a word when that word has been dangerously eroded. This is especially likely when two words are similar in pronunciation. "sing sang sung" leads to "ring rang rung" -- but should past tense of the fairly new verb "wing" be "winged" or "wang" or "wung"? With so many patterns to choose from, there's always grist for language change.

3. He starts off with a delightful point on the common plaint that English is going to hell, that people nowadays don't know how to use it properly, how just 30 years ago the language was so much more pristine. He presents a modern quote to this effect; then another quote from 30 years ago saying the same thing; then another quote from 30 years before that saying the same thing; and so on all the way back to 1620. The more things change, the more they stay the same.

4. I was particularly impressed by his explanation of how the weird Semitic word system (every word has a root of three consonants, and the vowels that are filled in specify its gender, case, number, and so forth.) He starts by pointing out that this system is too intricate, too well-ordered, to have simply arisen by chance. Or is it? He proceeds to demonstrate just how it could have happened using erosion and back-formation.

5. Vowel coloring. This is another concept that I had seen mentioned but never explained. Some vowels can affect vowels near them in a word. The example he gives is the Germanic "gest", whose plural was "gestiz". [I'm probably screwing up the spelling here.] The 'i' in the plural form "colored" the 'e' and caused it to shift into an 'a'. Later on, the 'iz' was eroded down to a schwa (spelled as an 'e', but pronounced as a short "uh"). Thus, the singular is "Gest" but the plural is "Gaste".

All in all, a surprising and fascinating book. This guy is definitely on my list of authors to watch.

1 of 1 people found the following review helpful.
Is language being created and destroyed in a constant cycle?
By A. Panda
Understandable, readable, but best of all, enjoyable explanation of the destructive and creative forces acting upon language. This book will convey you a "big picture" of how our present languages could have evolved into their present state and is mainly aimed at the interested layperson or at beginner students of linguistics, not for specialists (or maybe for those specialists that would like to read an overview of their science field from a humorful perspective).

The destruction of language structures, as well as the creation of new ones is explained with very illustrative examples taken fom a wide variety of languages and from different historic periods. (Other reviewers have already explained the involved forces). Most 20th/21st century linguists believe that the same forces that acted on prehistoric languages should be the same forces at play now, so by observing present (or at least more or less recent) language changes we should be able to understand the forces that shaped our current languages.

Creative changes are harder to observe than destructive ones, since it is easier to observe a present irregularity and look for its origin in the past (the action of a destructive force) than to look at something that looks regular now and imagine that sometime in the past it was irregular. Therefore, the only way to observe such creative processes is by noting an irregularity in some old text, which has somehow become regular in the present. This difficulty gave rise to the widespread idea among 19th century experts that language was only decaying. Although linguists have finally managed to observe some creative phenomena, these are not enough to compensate for the erosion that is evident in languages. Maybe written language and the existence of formal "grammar" and "ortography" are hindering or at least slowing down the creative processes. Linguists still do not know if this situation will lead us to a frightening erosion of meaning and structure in language (for example almost all noun cases existing in Proto-Indo-European, Latin and some Germanic languages are disappearing). Personally, I do not believe language will deteriorate to that point, since the very function of language (communicating meanings between individuals) would be threatened. Therefore, maybe we will reach some critical point and afterwards there will be a Cambric explosion of meaning and structure, it's a pity we will probably not witness this.

0 of 0 people found the following review helpful.
Fascinating!
By Łukasz Duda
A short, speculative history of our greatest invention. In it, an explanation for all the complexities and irregularities of our languages. Cases, verb endings, semitic consonantal root system, it's all here. And it's all written with plenty of examples and witty asides. Really enjoyable to read!

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Studienarbeit aus dem Jahr 2005 im Fachbereich Germanistik - Literaturgeschichte, Epochen, Note: 1,7, Universität Siegen, Veranstaltung: Zum Charakter geisteswissenschaftlicher Grundbegriffe, 16 Quellen im Literaturverzeichnis, Sprache: Deutsch, Abstract: Diese Hauptseminarsarbeit setzt sich mit dem oft unscharf verwendeten und oft kritisierten Terminus "Postmoderne" auf begriffsgeschichtlicher Basis auseinander.

• Sales Rank: #3738689 in eBooks
• Published on: 2006-07-18
• Released on: 2006-07-18
• Format: Kindle eBook

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~ Download Ebook If There Is I Haven't Found It Yet: A Play, by Nick Payne

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Fifteen-year-old Anna is bullied by her classmates for being overweight. Her mother, Fiona, decides to transfer her to the school where she teaches, but that only makes things worse. Anna's father, George, is no help—he's too obsessed with saving the world. Just as Anna gets suspended for head-butting one of her tormenters, her uncle Terry arrives for an unannounced visit. A heartbroken, filthy-mouthed slacker, Terry reaches out to Anna in a way that no one ever has. Their unexpected friendship sends her parents' rocky marriage into a tailspin as the whole family wonders what—or who—really needs saving.
Nick Payne's If There Is I Haven't Found It Yet is a brilliantly sad, humorous, and empathetic play about a family stuck somewhere between knowing what the problem is and doing something about it.

• Sales Rank: #1172724 in eBooks
• Published on: 2013-03-19
• Released on: 2013-03-19
• Format: Kindle eBook

Review

“Payne is a new and exceptionally bright star . . . celebrated for casting a fresh, fragmented light on the complexities of contemporary life.” ―Ben Brantley, The New York Times

“Enter Nick Payne, a stripling British playwright at the beginning of a great career . . . His plays aspire to intellectual and visual astonishment, combining curiosity and compassion into satisfying puzzles, which bring together public concerns and private griefs in order to explore the irony between the realms . . . [If There Is I Haven't Found It Yet] uses the front-page issues of climate change, obesity, and school bullying as paths to a deeper inquiry into Homo sapiens' self-destructiveness.” ―John Lahr, The New Yorker

About the Author

Nick Payne is the author of the plays Wanderlust, a new version of Sophocles' Electra, One Day When We Were Young, Constellations, and Lay Down Your Cross. He is the winner of the 2009 George Devine Award for Most Promising Playwright and the 2012 Harold Pinter Playwright's Award. He is currently under commission with the Royal Court Theatre, the Donmare Warehouse, and the Manhattan Theatre Club. He was born in 1984.

Excerpt. © Reprinted by permission. All rights reserved.

 


If There Is I Haven’t Found It Yet had its U.S. premiere in New York City on September 20, 2012, at the Laura Pels Theatre of the Harold and Miriam Steinberg Center for Theatre.
Cast
GEORGE Brían F. O’Byrne
FIONA Michelle Gomez
ANNA Annie Funke
TERRY Jake Gyllenhaal
Creative Team
DIRECTOR Michael Longhurst
SETS Beowulf Boritt
COSTUMES Susan Hilferty
LIGHTS Natasha Katz
ORIGINAL MUSIC AND SOUND Obadiah Eaves

If There Is I Haven’t Found It Yet had its world premiere in London on October 17, 2009, at the Bush Theatre.
Cast
GEORGE Michael Begley
FIONA Pandora Colin
ANNA Ailish O’Connor
TERRY Rafe Spall
Creative Team
DIRECTOR Josie Rourke
DESIGNER Lucy Osborne
LIGHTING DESIGNER Oliver Fenwick
SOUND DESIGNER Emma Laxton
ASSISTANT DIRECTOR Ant Stones
COMPANY STAGE MANAGER Angela Riddell
DEPUTY STAGE MANAGER Dave Blakemore
SCENIC ARTIST Lara Etherton
DESIGN ASSISTANT James Turner
STAGE MANAGER (COVER) Xenia Lewis
PRODUCTION ELECTRICIAN Chole Kenward

CAST
GEORGE, male, 40s.
FIONA, female, 40s.
ANNA, female, 15. Anna is considerably overweight.
TERRY, male, 20s.
Ellipses following a character’s name indicate a desire to speak but an inability to know quite what to say.
 
GEORGE: When I was younger, I adored polar bears. My, my father used to subscribe to National Geographic, and for years I had polar bear paraphernalia all over the walls of my bedroom—I even had a pair of polar bear swimming trunks. But not long after my wife had given birth to our daughter, I insisted the three of us take a trip to Edinburgh Zoo to see the last two polar bears in Britain—a couple, Barney and Mercedes, would you believe. But when we arrived—and I’ll never forget this—when we arrived at the zoo, we were told that Barney had died: he had choked to death on a child’s toy that had been thrown into his pool. So, so, I suppose you could say that my interest in the fate of our little blue planet began with a love of all things Ursus maritimus.
School corridor, day. ANNA and FIONA. ANNA wears her PE outfit. ANNA dabs a tissue on her slightly bloody nose throughout.
FIONA: Why don’t we just start at the beginning? (Meaning tissue) Here.
FIONA hands ANNA a fresh tissue and removes the old one.
FIONA: Keep it pressed. Try not to dab it.
ANNA: I can taste it. The blood, in the back of my throat.
Beat.
FIONA: I used to loathe PE, you know.
ANNA: What?
FIONA: The horror, my goodness, the horror of having to get changed in front of your peers. Everyone trying not to look at each other’s bits—or rather, everyone trying to look as if they’re not trying to look at each other’s bits. Because who knows how our bits are supposed to look when we’re that age?
ANNA: What on earth are you on about?
FIONA: I understand your frustration. But I just want you to know that in spite of all of that, it’s important to try and remember—
ANNA: No, I’m being serious, I don’t understand what you’re talking about. None of this has anything to do with PE.
FIONA: Oh. Really? Well, that’s strange, because I thought— Miss Clarke said to me that— If the fight wasn’t about netball, Anna, then what was it about?
Beat.
FIONA: Anna?
Beat.
FIONA: Anna, please, I promise you I’m just trying to help.
Beat.
FIONA: Anna, they’re thinking of suspending you.
ANNA: What? How long for?
FIONA: At the moment it’s two weeks.
ANNA: What about Lucy Mitchell, everyone else?
FIONA: What about them?
ANNA: Are they gonna get suspended?
FIONA: Not as far as I know, no.
ANNA: This is such fucking bullshit.
FIONA: Language.
ANNA: Isn’t it, though?
FIONA: Well. Perhaps if you tell me what happened, I might be able to help. But at the moment I’m completely in the dark— And you can tell me and I promise, you won’t have to tell anyone else. You can tell me anything.
Beat.
ANNA: They found out you were my mum.
FIONA: What did they say? Anna?
ANNA: They just called you lots of stuff.
FIONA: Like what?
ANNA: Just. Lots of stuff, all right.
FIONA: And is that why you lost your temper? As opposed to it being about netball—
ANNA: Can’t you talk to someone?
FIONA: How do you mean?
ANNA: Tell them it’s not my fault. Tell them it’s because you work here. Tell them what I’m normally like. That I’m not normally like this. I didn’t ask to come here, you know.
FIONA: Anna (doesn’t finish).
Beat. FIONA watches ANNA briefly.
FIONA: Why don’t we finish this conversation off at home? There’s soup in the fridge when you get in. And then I’ll pick something up for dinner on the way home.
ANNA: What time do you think you’ll be back?
FIONA: I might have to stop off at Granny’s on the way home, but not late.
ANNA: What about Dad?
FIONA: Wait and see. (Meaning nose) How is it? Can I see?
FIONA removes the tissue from ANNA’s nose, wipes it clean with a fresh tissue.
FIONA: Think it’s stopped.
Beat.
ANNA: They called you a cunt. Lucy Mitchell and everyone. They said, “What’s it like having a mum who’s a full-time cunt?”
Family home, night. ANNA is watching television, eating from a large bag of crisps.
Doorbell, off. ANNA turns off the television, hides the crisps and exits. ANNA opens front door, off.
TERRY: (Off) All right? Hannah, right? Terry. How’s it going? All right to come in?
ANNA shuts front door, off. Enter TERRY with backpack. TERRY looks around the room. Enter ANNA.
TERRY: Wallpaper’s different.
TERRY perhaps finds this a little amusing, but ANNA remains stone-faced.
TERRY: ’S this a bad time?
ANNA shakes her head.
TERRY: Prob’ly shoulda rung or something, but. Phone was fucked and I thought, by the time I’ve arsed around getting change for the fucking. You know, the phone—and that, thought I might as well just. Anyway, sorry if all this is a bit out of the blue. Don’t remember me, do you?
ANNA: (Meaning yes) No, no. My name’s Anna. Called me Hannah—
TERRY: Right.
ANNA: But it’s actually Anna.
TERRY: Right. Sorry. Only asking cos, y’know, me and y’dad, sorta sound a bit different and that, but—mean, some people find it a bit. “Brothers”? Yeah, brothers. Have to fucking explain it to ’em. Moved about a bit and that, y’have to fucking say. Anyway, I’m saying. Cos I mean, you’re sort of looking at me as if we’ve never even fucking met. (New thought) Worked a treat, y’know. Whole niece thing. While I’s away. This one bird, right, told her about you, told her about being a fucking uncle and that, and she went fucking; seriously, she went fucking. We get back to her place and she literally starts fucking (demonstrates, stripping). Mean, I was like.
ANNA:…
TERRY: So anyway, how’s things?
ANNA nods.
TERRY: Yeah?
ANNA nods.
TERRY: Still at school and that, is it?
ANNA: Yeah.
TERRY: How’s that going, then?
ANNA shrugs.
TERRY: ’S all right t’say y’fucking hate it, y’know. I did.
ANNA: It’s not like the most thrilling part of my life right now, no.
TERRY: Fair enough. Anyone else about?
ANNA: Dad’s out, but Mum should be back in a bit.
TERRY (meaning what was she doing before he arrived): Watching telly or something, was it?
ANNA nods.
TERRY: Any good?
ANNA shrugs.
TERRY: Put it back on if y’want.
ANNA: It’s all right.
TERRY: No, serious, ’s all right. Do with a shit, anyway.
ANNA smiles a little. Front door sounds, off.
FIONA (off): Hello. It’s me, anyone in?
ANNA: Yeah.
FIONA (off): Do you mind giving me a hand with the shopping please, darling?
Exit ANNA. TERRY is unsure quite what to do with himself while he awaits FIONA’s entrance. He perhaps takes out some Rizlas, rolling tobacco, etc.—but then thinks twice. TERRY puts the tobacco, etc., away and checks that he’s looking reasonably presentable. Enter FIONA. FIONA holds a number of sheets of sheet music and various other papers, also a shopping bag or two.
FIONA: Hello, Terry.
FIONA and TERRY kiss one another on the cheek during the following.
TERRY: Oh, hiya, hi, how’s it going?
FIONA: Very well, thank you. Yourself?
TERRY: Yeah, yeah, y’know. D’ya need a hand?
FIONA: Thank you.
TERRY takes shopping bags from FIONA and exits. FIONA, alone for a moment. Re-enter TERRY. FIONA and TERRY perhaps smile at one another politely for a moment, neither quite sure where to begin.
FIONA (simultaneously): Excuse the mess. If I’d have known you were—
TERRY (simultaneously): Sorry to just turn up unannounced, but—
FIONA: Sorry.
TERRY: No, no.
FIONA: Just apologizing for the mess.
TERRY: Don’t worry about it.
FIONA: Been roped into helping out with the school musical. One of the other teachers had to drop out.
TERRY: Oh, right. How’s that going?
FIONA: Busy.
TERRY: What y’doing? For the musical, which show is it—?
FIONA: War of the Worlds.
TERRY: Oh, right. Sounds good. No George, then?
FIONA: Is that a question or an observation?
TERRY:?
FIONA: He’ll be back at some point, I’m sure.
Beat.
TERRY: Listen, I’m sorry about. Turning up, but. Didn’t really have anywhere else to—
FIONA: Mustn’t apologize.
TERRY: Yeah, no, thanks, but—
FIONA: Honestly.
TERRY: Cheers.
Beat.
TERRY: So how’s Rachel getting on these days?
FIONA’s cell phone begins to ring (the ringtone is a pop song).
FIONA: Shit, sorry.
FIONA answers the phone. TERRY perhaps does now roll a cigarette during the following. FIONA perhaps throws TERRY a knowing look or two during the following.
FIONA (into phone): Mum. No, it’s not on tonight. It’s not tonight, no. No, it’s on tomorrow night. Tomorrow night; that’s right. I’ve set the recorder to record it tomorrow night. No, you don’t have to do anything. That’s right. All you have to do is sit back and watch it. That’s right. Yes, it’s all very modern. (Cutting her mother off) Listen, Mum, I might have to … Yeah, that’s right, I’ve … Okay. Okay. Bye, Mum, bye.
FIONA hangs up.
FIONA: Sorry about that.
TERRY: How is she?
FIONA: Other than the fact she’s losing her fucking mind, fine.
TERRY: How d’you mean?
Beat.
FIONA: Better just make sure Anna’s getting on all right.
TERRY: Sure.
FIONA: Can I get you something to drink?
TERRY: Beer’d be nice. Cheers.
Exit FIONA. Enter ANNA with beer.
TERRY: You not having one?
ANNA: I’m fifteen.
TERRY: Yeah, I know, was a. Was a joke. Don’t worry about it. Didn’t fancy being in y’mum’s musical, then? Tom Cruise innit? War of the Worlds. Aliens. Well. Here’s to it.
TERRY toasts, drinks.
FIONA (off): Will you being staying for dinner, Terry?
TERRY: If that’s all right, yeah?
FIONA: (off): We’re having mushroom Stroganoff, I hope that’s all right?
TERRY: Sounds lovely!
FIONA (off): Anna, would you mind giving me a quick hand, please?
TERRY: Been a pleasure.
ANNA smiles a little. Exit ANNA. TERRY sips beer.

 
Copyright © 2013 by Nick Payne

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Beautiful play. Full of energy and emotion
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• Sales Rank: #3923953 in eBooks
• Published on: 2016-04-19
• Released on: 2016-04-19
• Format: Kindle eBook

Review

"This book is a very practical and interesting book in that it covers important areas critical to the operation of a transformer that tend to be overlooked by most transformer design books while emphasizing near-term future trends in transformer design. This would be an excellent resource for anyone who designs or works with the types of transformers discussed. All information references IEC standards, so some of the testing criteria may be different for other standards such as ANSI or UL, but the fundamentals remain relevant no matter which standard is being applied."
--John J. Shea, IEEE Electrical Insulation Magazine

About the Author

Xose M. Lopez-Fernandez received his MSc in electrical engineering and his European Ph.D (with first-class honors) in electrical engineering from Vigo University, Spain, in 1992 and 1997, respectively. He is currently a professor in the Department of Electrical Engineering at that school and was a visiting professor at the University of Artois, Bethune, France. Professor Lopez-Fernandez is the founder and general chairman of the International Advanced Research Workshop on Transformers (ARWtr). He is currently being entrusted with the responsibility of leading research projects for Spanish and Portuguese utilities and power transformer manufacturers. His research interests include the design aspects of electrical machines. Dr. Lopez-Fernandez received the Alfons Hoffmann’s Medal from the Polish Power Engineering Society in 2004. He is a member of the IEEE-PES Transformers Committee as well as CIGRE.

H. Bulent Ertan received his BS and MS in electrical and electronics engineering (EEE) in 1971 and 1973, respectively, from the Middle East Technical University (METU) in Ankara, Turkey. He also received his Ph.D from the University of Leeds, England, in 1977. He then joined METU as a staff member in that same year. Professor Ertan is currently a staff member of the Department of Electrical and Electronics Engineering at METU. His research interest is in the area of electrical machine design and electrical drives, and he has consulted for a number of companies manufacturing electrical motors and drives in Turkey. He has directed more than 20 industry-financed research projects and many other projects financed by the Turkish Scientific and Technological Research Institute (TUBITAK). He has served as the assistant director of TUBITAK Information Technologies and Electronics Research Institute since 1999 and led the Intelligent Energy Conversion Systems Research Group at TUBITAK-SPACE Institute for 8 years.

Janusz Turowski, Ph.D, DSc electrical engineering, served as full professor (retired in 2003) in electrical machines and applied electromagnetics at the Institute of Electrical Machines and Transformers (now Institute of Mechatronics and Information Systems), Technical University of Lodz (TUL), Poland. From 1999 to 2010, he was a full professor and dean at the Academy of Humanities and Economics at TUL. He received an honorary degree from the University of Pavia, Italy, in 1998. He is also a full member of the International Academy of Electrotechnical Sciences, a member of CIGRE, and a senior member of IEEE. He served as the director of IEMT from 1973 to 1992. Dr. Turowski served as a consultant of Polish ministers and transformer works in Poland, India, China, Australia, and Canada. He is the past president and an honorary member of the Polish Association of Theoretical and Applied Electrotechnical Sciences (PTETiS).

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> Free Ebook Confrontation: The War with Indonesia 1962 - 1966, by Nick Van der Bijl

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"For over four years in the ‘Swinging Sixties’ the armed forces of the UK were engaged in a little publicized but crucial jungle war against communist aggressive on the vast island of Borneo.

At any one time up to 50,000 troops (half of the Army’s strength today) were deployed along a 1,000 mile front. Their enemy were the communist led Indonesians whose leaders were determined to seize the states of Sarawak, Sabah and the oil rich Brunei, all of whom for their part wished to maintain their Commonwealth links. The catalyst for the war was the 1962 uprising in Brunei which was quickly crushed by the bold intervention of British army units.

The arrival of Major General Walter Walker, himself a controversial figure, gave the subsequent campaign a clear direction. Indonesian incursions were rigorously defended and ruthlessly pursued. Top Secret ‘Claret’ operations took the fight to the enemy with cross border operations initially using Special Forces and later with Chindit-style long range patrols. The outcome was a text book military victory thus avoiding a British ‘Vietnam’ debacle. "

• Sales Rank: #1387577 in eBooks
• Published on: 2008-03-27
• Released on: 2013-02-05
• Format: Kindle eBook

About the Author
Nick van der Bijl served in the Falklands War with the Intelligence Corps and is the author of Nine Battles to Stanley, With 5th Infantry Brigade in the Falklands. His Victory in the Falklands is being published by Pen and Sword in 2007 to mark the 25th Anniversary. He now works in the security industry and lives in Somerset.

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0 of 0 people found the following review helpful.
Running a war of attrition in jungles of Borneo
By Barry Sierer
This book does a thorough job of covering the British (and Commonwealth) side of the Confrontation with Indonesia. It is focused almost entirely on combat operations but also notes the logistical and rotational deployments of British and Commonwealth forces.

The author notes some of the more significant battles and patrols. Most of these were platoon size engagements in the jungle which escalated in 1964 as Indonesians ramped up their own forces and the British carried out “Claret” missions, which were raids into Indonesian territory.

Ultimately the British prevailed through superior intelligence, tactics, and political endurance. Indonesian forces fought fiercely but were wedded to a failing a strategy promoted by a government that was chronically unstable.

Highly recommended for those interested in military tactics; particularly jungle warfare.

3 of 4 people found the following review helpful.
Not for the general reader
By Miran Ali
An extremely focused unit by unit account of the war with Indonesia fought by the British and Commonwealth forces in Borneo.

I bought this book because like a lot of other people I'd never heard of this conflict and I'd developed an interest in this region and period thanks to the excellent Forgotten Wars by Tim Harper and Christopher Bayly.

Unfortunately this book's more geared towards vets, people whose relatives may have served there or aficionados of military minutiae. It isn't helped by the authors potted history of the turmoil in Indonesian politics and the growing discord between Singapore and Malaysia.

0 of 0 people found the following review helpful.
A good view from the tactical and operational perspective
By Stage 3
Confrontation was a war that was kept quiet by both sides and as such has not received much attention. This book is a welcome addition to the collection of anybody looking to understand more about this limited war from a tactical or operational level. If you are looking for a political or strategic view of the war then Jamie MacKie's Konfrontasi: The Indonesia-Malaysia Dispute Nineteen Sixty-Three to Nineteen Sixty-Six is still a great analysis. The book does delve into the detail of small unit operations but that was the nature of the conflict. Indonesia did land forces on peninsula Malaysia but these incursions were not effective. I certainly recommend this book as a very effective review from the British Commonwealth angle of the combat occurred during Confrontation/Konfrontasi.

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^ Ebook Presse- und Öffentlichkeitsarbeit in Kulturbetrieben (German Edition), by Hayat Caroline Issa

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Studienarbeit aus dem Jahr 2003 im Fachbereich Kulturwissenschaften - Allgemeines und Begriffe, Note: 2,0, Universität Bremen (Fachbereich 9 Kulturwissenschaft), Veranstaltung: Grundlagen des Kulturmanagements, 3 Quellen im Literaturverzeichnis, Sprache: Deutsch, Abstract: In der vorliegenden Arbeit beschäftige ich mich mit dem Thema Presse- und Öffentlichkeitsarbeit in Kulturbetrieben. Nach einer kurzen Einführung in Definition und Geschichte des Begriffs der Public Relations, bzw. der Presse- und Öffentlichkeitsarbeit, gehe ich auf die wichtigsten Instrumente der Presse- und Öffentlichkeitsarbeit in Kulturbetrieben ein. Diese Ausführungen ergänze ich durch die Schilderung eigener Erfahrungen in Presse- und Öffentlichkeitsarbeit im Veranstaltungs- bzw. Festivalbereich, die ich während meiner Tätigkeit in einem großen Konzerthaus sowie bei einem renommierten Klassik-Festival in den vergangenen zwei Jahren gesammelt habe.

• Sales Rank: #3395699 in eBooks
• Published on: 2006-07-14
• Released on: 2006-07-14
• Format: Kindle eBook

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