Sally Porter is a drab waitress, divorcee, and loner in the great city. But, though she is unaware of it, she is also four other, quite different people: Nola, the cold independent artist who has a studio in Greenwich Village; Derry, the happy-go-lucky tomboy; Bella, the sexpot with a talent for singing and dancing; and finally Jinx, the hate- filled killer. Whenever events put too much of a strain on Sally Porter, she feels a headache and a blackout coming on - and a new character takes over. If there is a man to be fascinated, she will become Bella. If there is an intellectual problem, she will become Nola. And - as happens in the opening scene of the novel - if there is a rapist to be dealt with, she becomes the vicious Jinx. It is the task of the wise and patient psychiatrist, Dr. Roger Ash - a man who nevertheless has severe problems of his own - to deal with this case of multiple personality and, through painstaking therapy, to try to fuse the four disparate personalities into "the fifth Sally."
the fifth sally
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LIQUID GOLD It accomplishes what theorists, from Aristotle to Marx to Galbraith, have failed to produce: a Utopian State - state of mind that is. Because, while attentively listening to its ramblings (or while under its influence if you prefer), the world -for a momentary glimpse of time- is perfect. Your friends are funny, your girlfriend is pretty - the rigors of work a distant fuzzy memory. There exist no obstacles: you possess the pugilistic prowess of Mohammed Ali, Don Juan's charisma, and the financial resources backing Bill Gates. Both regret and fear dwell elsewhere. But, like all good things -as Adam, Eve, the Romans and M.C. Hammer can quantitatively testify- every good time consists of both a beginning and a conclusion. After which, chaos usually reigns: exile to the hinterland, barbarian raiders, creditors with grudges, beer stained jeans, vomit stained jeans, piss stained jeans, beer and vomit and piss stained jeans, nasty headaches, exorbitant Visa and Master-card bills, black-eyes, groveling to your girlfriend, letters of apology to the city, and even an occasional night spent on the hard bench in the local hoosegow! The twin nomads fear and regret have found a new home. Until, that is, they are banished once again, the following weekend (Happy hour at Spud's Pool Party bar & tavern 4 till 7 except Sundays, when it lasts all day) or night if you're lucky-with that first sip of Liquid Gold.
The first book devoted entirely to women in bluegrass, Pretty Good for a Girl documents the lives of more than seventy women whose vibrant contributions to the development of bluegrass have been, for the most part, overlooked. Accessibly written and organized by decade, the book begins with Sally Ann Forrester, who played accordion and sang with Bill Monroe's Blue Grass Boys from 1943 to 1946, and continues into the present with artists such as Alison Krauss, Rhonda Vincent, and the Dixie Chicks. Drawing from extensive interviews, well-known banjoist Murphy Hicks Henry gives voice to women performers and innovators throughout bluegrass's history, including such pioneers as Bessie Lee Mauldin, Wilma Lee Cooper, and Roni and Donna Stoneman; family bands including the Lewises, Whites, and McLains; and later pathbreaking performers such as the Buffalo Gals and other all-girl bands, Laurie Lewis, Lynn Morris, Missy Raines, and many others.
In the mid-1980s, Easton Press began publishing a series of leather-bound collector editions called “Masterpieces of Science Fiction,” and “Masterpieces of Fantasy,” which featured some of the most important works in these genres. Author James Gunn was commissioned to write introductions to these works, which allowed him to pay tribute to many authors who inspired and influenced him. In Paratexts: Introductions to Science Fiction and Fantasy, Gunn has collected the most significant essays produced for the Easton series, along with prefaces he wrote for reprints of his own novels. Drawing upon Gunn’s lifetime of work in the field, these introductions include analyses of the individual works and the fields in which they were written. Gunn also briefly discusses each novel’s significance in the science fiction canon. Collected here for the first time, these prefaces and introductions provide readers with insight into more than seventy novels, making Paratexts a must read for science fiction and fantasy aficionados.
Rob Reiner's enormously funny and moving When Harry Met Sally ... -- a romantic comedy about the difficult, frustrating, awful, funny search for happiness in an American city, where the primary emotion is unrequited love -- is delighting audiences everywhere. Now, the complete screenplay is published. Written by Nora Ephron -- author of screenplays for Silkwood and Heartburn (from her own best-selling novel) -- When Harry Met Sally...is as hilarious on the page as it is on the screen. The book includes an introduction by the author. From the Trade Paperback edition.
From Dr. Moreau's Beast People to David Cronenberg's Brundlefly, Stanislaw Lem's robot constructors in the Cyberiad to Octavia Butler's human/alien constructs in the Xenogenesis trilogy, Posthuman Metamorphosis examines modern and postmodern stories of corporeal transformation through interlocking frames of posthumanism, narratology, and second-order systems theory. New media generate new metamorphs. New stories have emerged from cybernetic displacements of life, sensation, or intelligence from human beings to machines. But beyond the vogue for the cyborg and the cybernetic mash-up of the organic and the mechanical, Posthuman Metamorphosis develops neocybernetic systems theories illuminating alternative narratives that elicit autopoietic and symbiotic visions of the posthuman. Systems theory also transforms our modes of narrative cognition. Regarding narrative in the light of the autopoietic systems it brings into play, neocybernetics brings narrative theory into constructive relation with the systemic operations of observation, communication, and paradox. Posthuman Metamorphosis draws on Bruno Latour, Donna Haraway, Niklas Luhmann, Cary Wolfe, Mieke Bal, Katherine Hayles, Friedrich Kittler, and Lynn Margulis to read narratives of bodily metamorphosis as allegories of the contingencies of systems. Tracing the posthuman intuitions of both pre- and post-cybernetic metamorphs, it demonstrates the viability of second-order systems theories for narrative theory, media theory, cultural science studies, and literary criticism.
Oscar-winning film Charly starring Cliff Robertson and Claire Bloom-a mentally challenged man receives an operation that turns him into a genius...and introduces him to heartache.
Spencer Polk was born of an African-Indian slave woman known as Sally, and her master, Taylor Polk, a descendant of one of America's first families and one of the earliest white settlers in the Arkansas Territory. A favored slave, Spencer Polk became a prosperous farmer and landowner in southwestern Arkansas and the founder of a numerous and energetic family. Since emancipation the family homestead he built on Muddy Fork Creek has housed succeeding generations and has drawn back those who sought their fortunes elsewhere. Ruth Polk Patterson, a granddaughter of Spencer Polk who was born and raised in the log house he built, traces the life of Polk and his family from his birth in 1833 to the present generation. The skillful blending of folklore, history, and personal insight makes The Seed of Sally Good'n an excellent contribution to the long neglected history of middle-class African Americans.