The Truth is Right Here in Our Stories Immigration has long been a controversial issue in American politics and remains one of the country’s most pressing issues, dividing the nation along political, economic, moral, and ethical lines. Critics have long distorted the view of immigrants, depicting them as criminals who corrupt our neighborhoods, depress our wages, overpopulate our prison systems, and drain our economy. This misshapen narrative persists in our present time. The Truth in Our Stories presents twelve compelling stories that highlight the immigrant experience and hopefully begin to change that perception. The testimonies are unapologetically honest and reveal the horrid conditions and crippling fear that continue to characterize the lives of immigrants. We learn, for example, that immigrants cannot obtain a driver’s license in most states and that they have unequal access to health care; they receive no benefits and work multiple jobs for unscrupulous employers who frequently exploit them. Yet, there is hope because these stories challenge the public narrative about immigrants and dismantle the myths that lead to their persecution. While the stories shared in this book are full of hardship, the immigrants who share them shine with resilience and fortitude. They reveal, for instance, that immigrants are entrepreneurial, create jobs, pay taxes, and build infrastructure, thereby improving the economy. As the fight for immigrant rights continues to unfold, we hope this book will help restore a sense of shared humanity with the immigrant community. Listen to these voices; the truth is right here in our stories.

In this radical and deliberately controversial re-reading of Brecht, first published in 1989, Elizabeth Wright takes a new view of the playwright, giving us a more ‘Brechtian’ reading than so far achieved and making his work historically relevant here and now. The author discusses in detail Brecht’s principle theories and concepts in the light of poststructuralist theory, and reassess the aesthetics and politics with regard to Marxist critics of his own day. Wright includes a re-reading of Brecht’s early works, which presents them in relation to a postmodern theatre, and gives critical analyses of the work of Pina Bausch, Robert Wilson, and Heiner Müller, who use the techniques of performance theatre, showing how they deconstruct Brecht’s distinction between illusion and reality and point to a postmodern understanding of their dialectical relation.

Elizabeth Wright had it all. A comfortable life, successful business, house, handsome partner and beautiful baby. Then things screwed up. She discovered that the man in her life was being unfaithful, and her prosperous pet centre crashed into a financial black hole. At fifty-two, and menopausal, she was reduced to being a single mum on benefits with the stigma of bankruptcy. Left with just a negative equity house harnessed to a hefty mortgage, she had to face an impoverished lifestyle along with a succession of jobs which either folded or relocated. In this hilarious book she recounts how she quickly learnt to juggle work and child care, keep an ancient car on the road that already had one wheel in the Great Breaker's Yard in the Sky, whilst her money-saving efforts to grow her own food, were defeated by thieving blackbirds, munching molluscs and exploding bags of donkey manure. Dog sitting was a disaster, with fleas, mangy animals and an amorous owner with a dodgy trouser zip. There were cockroaches in the takeaway, drunks in the bakery, and a parcel sealing machine with pit bull attitude in the factory. Then, after all her efforts, the Trustees of the Bankruptcy stated that her only asset, the house, was back into equity and would have to be sold to pay the debtors. Fighting this, she worked fourteen hours a day, raised the required £30,000, kept the house, had the bankruptcy annulled and, with a great sense of humour, wrote this book.

Jacques Lacan is known as 'the French Freud' and is the key figure of postmodern psychoanalysis.

Do you want God to transform you and your entire life? Perhaps you have tried time and time again to have an eternal life-changing transformation in life and nothing emerged. Today, God desires to give you a spiritual makeover, that is, one that you'll never forget, and one that transcends everything you've ever known. God will change you from the inside-out. In Elizabeth's new book "The Butterfly," she shares her deepest writings as she journey through the different stages of the metamorphosis of a butterfly, as it may be similar to our spiritual transformation experienced in Christ. So, keep your eyes opened, ears unclogged, and hear what the spirit is saying to "the church." Included in this refreshing new book are 50 devotionals, some of the writings are as though the prophets, disciples, and Jesus are speaking directly to you. These writings were written during a time of complexity, illness, and enduring faith. Elizabeth shares her experiences and gives further details about how Jesus shows up when you least expect him, that is, in despair, loneliness, sickness, times when it seems like hope is gone, and when he is calling you into another dimension of his glory. These readings will help you discover purpose and transformation in your life, as you are guided by the Spirit of the Living God, because "Life without God (i.e. Jesus Christ) is no life at all."

In her 1860 book Lichen Tufts, from the Alleghanies, Elizabeth C. Wright weaves together environmental philosophy, lyrical nature writing, and social consciousness. A graduate of Alfred University, Wright was an activist for women's rights, temperance, and the abolition of slavery. She was a teacher, a botanist, and, later in life, a Kansas homesteader. In Lichen Tufts, Wright urged her readers to cultivate an intimate knowledge of the natural world, reflecting her Transcendentalist belief that an immersive relationship with nature benefits the individual as well as society as a whole. Composed of four essays and forty poems, Lichen Tufts reveals wisdom and beauty in an early example of eco-feminism that highlights the natural world as antidote to society's restrictive gender codes, one that is still relevant today. SUNY Press brings Lichen Tufts, from the Alleghanies to life for modern audiences, with a recovery edition featuring the 1860 book in its entirety. An Introduction by Emily E. VanDette places the book and its author in the context of nineteenth-century social reform campaigns throughout the Burned Over District of western New York. An Afterword written by Laurie Lounsberry Meehan highlights the history of Alfred University and the cohort that influenced Wright's environmental and social reform activism.

On March 6, 1945, after hearing rumors that his son, John, was writing a book about their stormy past, Frank Lloyd Wright wrote a note asking him, "What is this talk of a book? Of all that I don't need and dread is more exploitation. Can't you drop it?" John assured his father that he would like the book and sent him a copy on its publication--March 29, 1946. A few days later, Frank Lloyd Wright returned it with numerous comments penciled in the margin, responding to what his son had written, and with a request that a new, second copy be sent to him. John complied with the request but first transcribed not only all his father's comments into the clean copy in black pencil but also his own answers to them in red pencil. He also transcribed all these comments into a third copy, again using colors to differentiate his comments from those of his father. This third copy is the basis for this new edition of John Lloyd Wright's book. The main text of this volume is a reprint of the 1946 edition along with marginal notes, comments, and corrections made by John Lloyd Wright and his father, as well as explanatory notes and an introduction by Narciso G. Menocal. In the postscript, Elizabeth Wright Ingraham, John Lloyd Wright's daughter, remembering her grandfather and father, says that in this edition "what was a son's book becomes a father and son book."

First published in 2002. Modes and categories inherited from the past no longer seem to fit the reality experienced by a new generation. ‘New Accents’ is intended as a positive response to the initiative offered by such a situation. Each volume in the series will seek to encourage rather than resist the process of change, to stretch rather than reinforce the boundaries that currently define literature and its academic study. The purpose of this book is to give a critical overview of what has become a very wide field: the relationship of psychoanalytic theory to the theories of literature and the arts, and the way that developments in both domains have brought about changes in critical practice.