Women Are Gods

Xlibris Corporation
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The book Women are Gods is one of the most powerful, and inspirational books ever written by a man about the woman’s mind, body, and soul, and the transcending power of her spiritualism as the true God of men’s existence. Mr. Grant, from your perspective, what is life? I look at life from a spiritual perspective. I strongly believe that I can only understand life through knowing and believing in who I am as a person. I have learned through the spiritual eyes of wisdom the importance of being humble, and loving. From my perspective life is a process of growth but one must be able and willing to enhance their spiritual growth in life in order to better fulfill their duties and responsibilities in life. We all exist with a purpose in life and that is the reason we have to become responsible to life. Because I have come to understand that it is our nature that defines who we are in life. It is the obstacles in life that we are face with, that purifi es our integrity as a person. It is in our inner strength that we become knowledgeable of our purpose and reason to live and exist as a human being. I have come to view life from this perspective and that is giving of myself to better enhance the lives of others as they also helped enhanced and influenced my life as well.
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Additional Information

Publisher
Xlibris Corporation
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Published on
Apr 17, 2009
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Pages
360
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ISBN
9781469120669
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Language
English
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Genres
Fiction / Religious
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Content Protection
This content is DRM protected.
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Available on Android devices
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James Grant’s enthralling biography of Thomas B. Reed, Speaker of the House during one of the most turbulent times in American history—the Gilded Age, the decades before the ascension of reformer President Theodore Roosevelt—brings to life one of the brightest, wittiest, and most consequential political stars in our history.

The last decades of the nineteenth century were a volatile era of rampantly corrupt politics. It was a time of both stupendous growth and financial panic, of land bubbles and passionate and sometimes violent populist protests. Votes were openly bought and sold in a Congress paralyzed by the abuse of the House filibuster by members who refused to respond to roll call even when present, depriving the body of a quorum. Reed put an end to this stalemate, empowered the Republicans, and changed the House of Representatives for all time.

The Speaker’s beliefs in majority rule were put to the test in 1898, when the sinking of the U.S.S. Maine in Havana Harbor set up a popular clamor for war against Spain. Reed resigned from Congress in protest.

A larger-than-life character, Reed checks every box of the ideal biographical subject. He is an important and significant figure. He changed forever the way the House of Representatives does its business. He was funny and irreverent. He is, in short, great company. “What I most admire about you, Theodore,” Reed once remarked to his earnest young protégé, Teddy Roosevelt, “is your original discovery of the Ten Commandments.”

After he resigned his seat, Reed practiced law in New York. He was successful. He also found a soul mate in the legendary Mark Twain. They admired one another’s mordant wit. Grant’s lively and erudite narrative of this tumultuous era—the raucous late nineteenth and early twentieth centuries—is a gripping portrait of a United States poised to burst its bounds and of the men who were defining it.
The Critical Imagination is a study of metaphor, imaginativeness, and criticism of the arts. Since the eighteenth century, many philosophers have argued that appreciating art is rewarding because it involves responding imaginatively to a work. Literary works can be interpreted in many ways; architecture can be seen as stately, meditative, or forbidding; and sensitive descriptions of art are often colourful metaphors: music can 'shimmer', prose can be 'perfumed', and a painter's colouring can be 'effervescent'. Engaging with art, like creating it, seems to offer great scope for imagination. Hume, Kant, Oscar Wilde, Roger Scruton, and others have defended variations on this attractive idea. In this book, James Grant critically examines it. The first half explains the role imaginativeness plays in criticism. To do this, Grant answers three questions that are of interest in their own right. First, what are the aims of criticism? Is the point of criticizing a work to evaluate it, to explain it, to modify our response to it, or something else? Second, what is it to appreciate art? Third, what is imaginativeness? He gives new answers to all three questions, and uses them to explain the role of imaginativeness in criticism. The book's second half focuses on metaphor. Why are some metaphors so effective? How do we understand metaphors? Are some thoughts expressible only in metaphor? Grant's answers to these questions go against much current thinking in the philosophy of language. He uses these answers to explain why imaginative metaphors are so common in art criticism. The result is a rigorous and original theory of metaphor, criticism, imaginativeness, and their interrelations.
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