What's this book about? That depends on who you ask. Our humble narrator thinks he's got a great story for you, but a scallywag pirate, a ravenous dinosaur, and an alien beg to differ. Soon a whole cast of colorful characters is breaking in to take over the story. If they could all get on the same page, this might just be the best story ever.

Whose Story Is It Anyway? (Workbook) By: Bryan Veal Whose Story Is It Anyway? (Workbook) provides an opportunity for introspection and enables individuals to examine why they think and act the way they do, what stories they have been told, what stories they have made up that are controlling their lives. This workbook will provide the ability to create a new way of thinking, thus changing unwanted behaviors. You will see how you have been programmed to think a certain way by other people’s stories and society’s stories. If you feel stuck or have settled for where you are or convinced yourself that you are where you want to be, this workbook will help you move to a place that you REALLY want to be…unless you are that 1 percent of the world that is doing what they really want to do.

“Maude Barlow is one of our planet’s greatest water defenders.” — Naomi Klein, bestselling author of This Changes Everything and The Shock Doctrine The Blue Communities Project is dedicated to three primary things: that access to clean, drinkable water is a basic human right; that municipal and community water will be held in public hands; and that single-use plastic water bottles will not be available in public spaces. With its simple, straightforward approach, the movement has been growing around the world for a decade. Today, Paris, Berlin, Bern, and Montreal are just a few of the cities that have made themselves Blue Communities. In Whose Water Is It, Anyway?, renowned water justice activist Maude Barlow recounts her own education in water issues as she and her fellow grassroots water warriors woke up to the immense pressures facing water in a warming world. Concluding with a step-by-step guide to making your own community blue, Maude Barlow’s latest book is a heartening example of how ordinary people can effect enormous change.

Reinventing yourself takes humor, heart, and a TON of footnotes! Max is a good kid—but you wouldn’t know that if you met him at the boring family camp his parents dragged him to over the summer. There, for a few exciting weeks, Max reinvents himself as “Mad Max” and gains a bad-boy reputation for being daring, cool, and fearless. But when Max returns home, he finds it’s easier to be fearless with strangers than it is among friends, and he is not particularly proud of the way his behavior over the summer hurt people. Can he find a way to merge his adventurous alter ego with his true identity as a good guy? Peppered with humorous handwritten footnotes and doodles throughout, Anyway* perfectly captures the viewpoint of a young teen doing his best to find his place in the world—and an ideal balance between wise guy and wimp.

InWhose Life Is It Anyway?, psychologist Nina Brown helps readers evaluate their family ties and decide if they are so caught up in others needs that they neglect their own health and happiness. She gives readers a variety of techniques for shielding themselves from the demands of their loved ones, building strong boundaries, checking their tendency toward excessive empathy, and staying free of dominating or manipulative relationships.

The biopic presents a profound paradox—its own conventions and historical stages of development, disintegration, investigation, parody, and revival have not gained respect in the world of film studies. That is, until now. Whose Lives Are They Anyway? boldly proves a critical point: The biopic is a genuine, dynamic genre and an important one—it narrates, exhibits, and celebrates a subject's life and demonstrates, investigates, or questions his or her importance in the world; it illuminates the finer points of a personality; and, ultimately, it provides a medium for both artist and spectator to discover what it would be like to be that person, or a certain type of person. Through detailed analyses and critiques of nearly twenty biopics, Dennis Bingham explores what is at their core—the urge to dramatize real life and find a version of the truth within it. The genre's charge, which dates back to the salad days of the Hollywood studio era, is to introduce the biographical subject into the pantheon of cultural mythology and, above all, to show that he or she belongs there. It means to discover what we learn about our culture from the heroes who rise and the leaders who emerge from cinematic representations. Bingham also zooms in on distinctions between cinematic portrayals of men and women. Films about men have evolved from celebratory warts-and-all to investigatory to postmodern and parodic. At the same time, women in biopics have been burdened by myths of suffering, victimization, and failure from which they are only now being liberated. To explore the evolution and lifecycle changes of the biopic and develop an appreciation for subgenres contained within it, there is no better source than Whose Lives Are They Anyway?

2015 Choice Outstanding Academic Title Winner of the Anna Julia Cooper/CLR James Award for Outstanding Book in Africana Studies presented by the National Council for Black Studies Demonstrates how Harlemite’s dynamic fight for their rights and neighborhood raised the black community’s racial consciousness and established Harlem’s legendary political culture In Whose Harlem Is This, Anyway?, Shannon King vividly uncovers early twentieth century Harlem as an intersection between the black intellectuals and artists who created the New Negro Renaissance and the working class who found fought daily to combat institutionalized racism and gender discrimination in both Harlem and across the city. New Negro activists, such as Hubert Harrison and Frank Crosswaith, challenged local forms of economic and racial inequality in attempts to breakdown the structural manifestations that upheld them. Insurgent stay-at-home black mothers took negligent landlords to court, complaining to magistrates about the absence of hot water and heat in their apartment buildings. Black men and women, propelling dishes, bricks, and other makeshift weapons from their apartment windows and their rooftops, retaliated against hostile policemen harassing blacks on the streets of Harlem. From the turn of the twentieth century to the Great Depression, black Harlemites mobilized around local issues—such as high rents, jobs, leisure, and police brutality—to make their neighborhood an autonomous black community. In Whose Harlem Is This, Anyway?, Shannon King demonstrates how, against all odds, the Harlemite’s dynamic fight for their rights and neighborhood raised the black community’s racial consciousness and established Harlem’s legendary political culture. By the end of the 1920s, Harlem had experience a labor strike, a tenant campaign for affordable rents, and its first race riot. These public forms of protest and discontent represented the dress rehearsal for black mass mobilization in the 1930s and 1940s. By studying blacks' immense investment in community politics, King makes visible the hidden stirrings of a social movement deeply invested in a Black Harlem. Whose Harlem Is This, Anyway? Is a vibrant story of the shaping of a community during a pivotal time in American History.