Suzanne Stutman – författare

We are a nation of plenty, of opportunity, and luxury, but we are also a nation flush with fury. Homicides, assaults, domestic abuse, youth violence, and even road rage are too common, let alone everyday outbursts of temper that harm family members, friends, peers, and co-workers. The market for anti-anger, mood-stabilizing drugs is booming, as is the market for anger management counseling and classes. What is happening? In this book, a team of experts who've been traveling the nation presenting workshops on Rethinking Anger start by telling us this: Anger is normal; nature hardwired into our brains for protection. But here is the paradox. Anger out of control destroys, yet anger understood and controlled is a constructive force, one that can be used for creativity, change, and growth. Authors Baruch, Grotberg, and Stutman show us how to take charge of this powerful emotion, so it can be used in constructive ways, rather than destructive. Using the anger energy constructively can release creative potential and be liberating.We are a nation of plenty, of opportunity, and luxury, but we are also a nation flush with fury. Homicides, assaults, domestic abuse, youth violence, and even road rage are all too common, let alone everyday outbursts of temper that harm family members, friends, peers, and co-workers. The market for anti-anger, mood-stablizing drugs is booming, as is the market for anger management counseling and classes. What is happening? In this book, a team of experts who've been traveling the nation presenting workshops on Rethinking Anger start by telling us this: Anger is normal; nature hardwired into our brains for protection. But here is the paradox. Anger out of control destroys, yet anger understood and controlled is a constructive force, one that can be used for creativity, change, and growth. Authors Baruch, Grotberg, and Stutman show us how to take charge of this powerful emotion, so it can be used in constructive ways, rather than destructive. Using anger energy constructively can release creative potential, and be liberating.Ten years of research and workshops have honed the knowledge and skills of this author team, and here they guide us to taming our anger into a positive force. This book will be useful to all trying to tame their own anger, or that of others close to them. It will also be of interest to teachers, counselors, managers and students of psychology.

We are a nation of plenty, of opportunity, and luxury, but we are also a nation flush with fury. Homicides, assaults, domestic abuse, youth violence, and even road rage are too common, let alone everyday outbursts of temper that harm family members, friends, peers, and co-workers. The market for anti-anger, mood-stabilizing drugs is booming, as is the market for anger management counseling and classes. What is happening? In this book, a team of experts who've been traveling the nation presenting workshops on Rethinking Anger start by telling us this: Anger is normal; nature hardwired into our brains for protection. But here is the paradox. Anger out of control destroys, yet anger understood and controlled is a constructive force, one that can be used for creativity, change, and growth. Authors Baruch, Grotberg, and Stutman show us how to take charge of this powerful emotion, so it can be used in constructive ways, rather than destructive. Using the anger energy constructively can release creative potential and be liberating.We are a nation of plenty, of opportunity, and luxury, but we are also a nation flush with fury. Homicides, assaults, domestic abuse, youth violence, and even road rage are all too common, let alone everyday outbursts of temper that harm family members, friends, peers, and co-workers. The market for anti-anger, mood-stablizing drugs is booming, as is the market for anger management counseling and classes. What is happening? In this book, a team of experts who've been traveling the nation presenting workshops on Rethinking Anger start by telling us this: Anger is normal; nature hardwired into our brains for protection. But here is the paradox. Anger out of control destroys, yet anger understood and controlled is a constructive force, one that can be used for creativity, change, and growth. Authors Baruch, Grotberg, and Stutman show us how to take charge of this powerful emotion, so it can be used in constructive ways, rather than destructive. Using anger energy constructively can release creative potential, and be liberating.Ten years of research and workshops have honed the knowledge and skills of this author team, and here they guide us to taming our anger into a positive force. This book will be useful to all trying to tame their own anger, or that of others close to them. It will also be of interest to teachers, counselors, managers and students of psychology.

Written over an eleven-year period, these letters between Thomas Wolfe and Aline Bernstein chronicle a love affair that was by turns stormy, tender, bitter, and contrite. When Wolfe met Mrs. Bernstein shortly before his twenty-fifth birthday in 1925, she was forty-four, married, and at the pinnacle of a successful career as a stage and costume designer. Bernstein gave the young writer not only the unstinting love of an experienced older woman but the financial assistance and belief in his ability that enabled him to create Look Homeward, Angel . ""I am deliberately writing the book for two or three people,"" he writes to her, ""first and chiefest, for you."" In letters written while Wolfe traveled in Europe, Bernstein describes the exciting world of the theater in New York and her own work on countless productions. Wolfe's descriptions of life, culture, and language from Oxford to Budapest rank with the best of his collected writings. Reproach becomes a more common theme in the letters as the affair continues, however, by 1931 Wolfe acknowledges that his feelings for Bernstein have altered: ""I need your help, and I need your friendship, and I need your love and belief--but the time of madness, darkness, passion is over, we can never relive that, we can never live through it again."" That time continues to live, however, in these letters and in the books that both Wolfe and Mrs. Bernstein wrote about their relationship. For those who have read Wolfe's Of Time and the River , The Web and the Rock , or You Can't Go Home Again , or Aline Bernstein's Three Blue Suits or The Journey Down , this correspondence provides remarkable insights into the authors' sources. |Sweet chronicles the lives of African slaves taken by Portuguese traders from Central Africa to Portugal and especially Brazil, one of the main regions of the African diaspora. He finds that slaves transferred their African cultural practices to the New World and that Central African cultural forms penetrated deeply into Brazilian society and the New World.

For the last eight years of his life, Thomas Wolfe worked periodically on a series of chapters that were part of a huge work-in-progress. The work was based loosely on the early life of New York stage and costume designer Aline Bernstein, with whom Wolfe was engaged in a tempestuous love affair for eleven years. In her introduction, Suzanne Stutman points out that publication of this novel should finally lay to rest the myth that Wolfe could write only about himself. Although some sections of this work were heavily edited and published after Wolfe's death, The Good Child's River , as Wolfe wrote it, was not published until 1991 and is now available in paperback for the first time.

Written over an eleven-year period, these letters between Thomas Wolfe and Aline Bernstein chronicle a love affair that was by turns stormy, tender, bitter, and contrite. When Wolfe met Mrs. Bernstein shortly before his twenty-fifth birthday in 1925, she was forty-four, married, and at the pinnacle of a successful career as a stage and costume designer. Bernstein gave the young writer not only the unstinting love of an experienced older woman but the financial assistance and belief in his ability that enabled him to create Look Homeward, Angel. "I am deliberately writing the book for two or three people," he writes to her, "first and chiefest, for you."In letters written while Wolfe traveled in Europe, Bernstein describes the exciting world of the theater in New York and her own work on countless productions. Wolfe''s descriptions of life, culture, and language from Oxford to Budapest rank with the best of his collected writings. Reproach becomes a more common theme in the letters as the affair continues, however, by 1931 Wolfe acknowledges that his feelings for Bernstein have altered: "I need your help, and I need your friendship, and I need your love and belief--but the time of madness, darkness, passion is over, we can never relive that, we can never live through it again."That time continues to live, however, in these letters and in the books that both Wolfe and Mrs. Bernstein wrote about their relationship. For those who have read Wolfe''s Of Time and the River, The Web and the Rock, or You Can''t Go Home Again, or Aline Bernstein''s Three Blue Suits or The Journey Down, this correspondence provides remarkable insights into the authors'' sources.

In the summer of 1937, Thomas Wolfe was in the North Carolina mountains revising a piece about a party and subsequent fire at the Park Avenue penthouse apartment of the fictional Esther and Frederick Jack. He wrote to his agent, Elizabeth Nowell, ''I think it is now a single thing, as much a single thing as anything I''ve ever written.'' Abridged and edited versions of the story were published twice, as a novella in Scribner’s Monthly (May 1939) and as part of You Can’t Go Home Again (1940). Now Suzanne Stutman and John Idol have worked from manuscript sources at Harvard University to reconstruct The Party at Jack’s as outlined by Wolfe before his death. Here, in its untruncated state, Wolfe’s novella affords a significant glimpse of a Depression-era New York inhabited by Wall Street wheelers and dealers and the theatrical and artistic elite. Wolfe describes the Jacks and their social circle with lavish attention to mannerisms and to clothing, furnishings, and other trappings of wealth and privilege. The sharply drawn contrast between the decadence of the party-goers and the struggles of the working classes in the streets below reveals Wolfe’s gifts as both a writer and a sharp social critic.

In the summer of 1937, Thomas Wolfe was in the North Carolina mountains revising a piece about a party and subsequent fire at the Park Avenue penthouse apartment of the fictional Esther and Frederick Jack. He wrote to his agent, Elizabeth Nowell, ''I think it is now a single thing, as much a single thing as anything I''ve ever written.'' Abridged and edited versions of the story were published twice, as a novella in Scribner’s Monthly (May 1939) and as part of You Can’t Go Home Again (1940). Now Suzanne Stutman and John Idol have worked from manuscript sources at Harvard University to reconstruct The Party at Jack’s as outlined by Wolfe before his death. Here, in its untruncated state, Wolfe’s novella affords a significant glimpse of a Depression-era New York inhabited by Wall Street wheelers and dealers and the theatrical and artistic elite. Wolfe describes the Jacks and their social circle with lavish attention to mannerisms and to clothing, furnishings, and other trappings of wealth and privilege. The sharply drawn contrast between the decadence of the party-goers and the struggles of the working classes in the streets below reveals Wolfe’s gifts as both a writer and a sharp social critic.