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Recovering the Self: A Journal of Hope and Healing (Vol. VI, No. 1) April 2017 Recovering The Self is a quarterly journal which explores the themes of recovery and healing through the lenses of poetry, memoir, opinion, essays, fiction, humor, art, media reviews and psycho-education. Contributors to RTS Journal come from around the globe to deliver unique perspectives you won't find anywhere else! The theme of Volume VI, Number 1 is "Focus on Grief & Loss." This issue includes a special tribute to author Jewel Kats. Inside, we explore physical, spiritual, emotional, and mental aspects of this and several other areas of concern including: ·Pet loss and animal companionship ·Eldercare ·Loving yourself ·Soul mates ·Art Therapy ·Happiness ·Living alone with confidence ·Partnership ·Narcissism ·...and more! This issue's contributors include: Ernest Dempsey, Brittany Michelson, Gerry Ellen Avery, Dave Roberts, Craig Kyzar, Natalie Jeanne Champagne, Erin Ergenbright, Martha M. Carey, Kyle Torke, Mrrinali Punj, Janet Grace Riehl, Marjorie L. Faes, Claire Luna-Pinsker, Diane Wing, Candy Czernicki, Allison Ballard, Valerie Benko, Diana Raab, Maureen Andrade Montague, by Sam Vaknin, Sarah Conteh, Katrina Wood, Bernie Siegel, Max Skinwood, Nora Trujillo, Sherry Lynn Jones, Janet Grace Riehl, Steve Sonntag, Patrick Gere Frank, Peter MacQuarrie, Christy Lowry and others. "I highly recommend a subscription to this journal, Recovering the Self, for professionals who are in the counseling profession or who deal with crisis situations. Readers involved with the healing process will also really enjoy this journal and feel inspired to continue on. The topics covered in the first journal alone, will motivate you to continue reading books on the subject matter presented. Guaranteed." --Paige Lovitt for Reader Views Visit us online at www.RecoveringSelf.com Published by Loving Healing Press www.LovingHealing.com

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Seduction Force Multiplier 6: Power of Routines - The Right PUA Inner game , Mindsets and Attitudes!

ALIS HAR?KALAR D?YARINDA

In giving to the world the record of what, looked at as an adventure only, is I suppose one of the most wonderful and mysterious experiences ever undergone by mortal men, I feel it incumbent on me to explain what my exact connection with it is. And so I may as well say at once that I am not the narrator but only the editor of this extraordinary history, and then go on to tell how it found its way into my hands. Some years ago I, the editor, was stopping with a friend, "vir doctissimus et amicus neus," at a certain University, which for the purposes of this history we will call Cambridge, and was one day much struck with the appearance of two persons whom I saw going arm-in-arm down the street. One of these gentlemen was I think, without exception, the handsomest young fellow I have ever seen. He was very tall, very broad, and had a look of power and a grace of bearing that seemed as native to him as it is to a wild stag. In addition his face was almost without flaw—a good face as well as a beautiful one, and when he lifted his hat, which he did just then to a passing lady, I saw that his head was covered with little golden curls growing close to the scalp. "Good gracious!" I said to my friend, with whom I was walking, "why, that fellow looks like a statue of Apollo come to life. What a splendid man he is!" "Yes," he answered, "he is the handsomest man in the University, and one of the nicest too. They call him 'the Greek god'; but look at the other one, he's Vincey's (that's the god's name) guardian, and supposed to be full of every kind of information. They call him 'Charon.'" I looked, and found the older man quite as interesting in his way as the glorified specimen of humanity at his side. He appeared to be about forty years of age, and was I think as ugly as his companion was handsome. To begin with, he was shortish, rather bow-legged, very deep chested, and with unusually long arms. He had dark hair and small eyes, and the hair grew right down on his forehead, and his whiskers grew right up to his hair, so that there was uncommonly little of his countenance to be seen. Altogether he reminded me forcibly of a gorilla, and yet there was something very pleasing and genial about the man's eye. I remember saying that I should like to know him.

Margaret, the eldest of the four, was sixteen, and very pretty, being plump and fair, with large eyes, plenty of soft brown hair, a sweet mouth, and white hands, of which she was rather vain. Fifteen-year-old Jo was very tall, thin, and brown, and reminded one of a colt, for she never seemed to know what to do with her long limbs, which were very much in her way. She had a decided mouth, a comical nose, and sharp, gray eyes, which appeared to see everything, and were by turns fierce, funny, or thoughtful. Her long, thick hair was her one beauty, but it was usually bundled into a net, to be out of her way. Round shoulders had Jo, big hands and feet, a flyaway look to her clothes, and the uncomfortable appearance of a girl who was rapidly shooting up into a woman and didn't like it. Elizabeth, or Beth, as everyone called her, was a rosy, smooth-haired, bright-eyed girl of thirteen, with a shy manner, a timid voice, and a peaceful expression which was seldom disturbed. Her father called her 'Little Miss Tranquility', and the name suited her excellently, for she seemed to live in a happy world of her own, only venturing out to meet the few whom she trusted and loved. Amy, though the youngest, was a most important person, in her own opinion at least. A regular snow maiden, with blue eyes, and yellow hair curling on her shoulders, pale and slender, and always carrying herself like a young lady mindful of her manners. What the characters of the four sisters were we will leave to be found out. The clock struck six and, having swept up the hearth, Beth put a pair of slippers down to warm. Somehow the sight of the old shoes had a good effect upon the girls, for Mother was coming, and everyone brightened to welcome her. Meg stopped lecturing, and lighted the lamp, Amy got out of the easy chair without being asked, and Jo forgot how tired she was as she sat up to hold the slippers nearer to the blaze. "They are quite worn out. Marmee must have a new pair." "I thought I'd get her some with my dollar," said Beth. "No, I shall!" cried Amy. "I'm the oldest," began Meg, but Jo cut in with a decided, "I'm the man of the family now Papa is away, and I shall provide the slippers, for he told me to take special care of Mother while he was gone."

Un loc important n miniatura vocal instrumental rahmaninovian l ocup romanele ce abordeaz tema dragostei. Ele prezint universul tririlor emoionale ale ndrgostitului, fac o subtil analiz psihologic a acestuia i exprim sentimente i triri profunde, ptimae, de la mrturisiri, la decepii i momente sentimentale generate de pierderea fiinei dragi. Strile sufleteti sunt asociate cu imagini din natur: primvara – bucuria, noaptea – dezndejdea, starea de ateptare chinuitoare, suferina, singurtatea, amurgul – stingerea speranei. Aceste romane pot fi mprite n dou categorii: cele care exprim fericirea i mplinirea prin iubire i cele care exprim suferina n dragoste din vina fiinei iubite. Lucrrile din prima categorie prezint sentimente luminoase, optimiste, nltoare, iar romanele care abordeaz tema dragostei nemprtite, a iubirii trdate sau a suferinei din dragoste au ca tem pierderea speranei, sentimente triste, dramatice, decepia, disperarea sau resemnarea. Intensitatea sentimentelor este sugerat prin sonoritile intense, sau dimpotriv, stinse, care trdeaz o puternic suferin interioar neexteriorizat, prin motive suspine, prin creterile i descreterile dinamice ce sugereaz acumularea tensiunii interioare.“ – Raluca Cimpoi-Iordachi

Dicionarul Luceafrului eminescian este prima lucrare de lexicografie consacrat unei singure opere poetice romneti, i anume unui “arhi-text“ (text poetic integral, concept i realizare n premier absolut), constituit din forma definitiv, versiuni i variante. Dicionarul ncearc prezentarea creaiei poetice din perspectiva lexicului, opiunile individualitii creatoare fa de mijloacele oferite de limb; totodat, cu limitele inerente, este o tentativ de incursiune ntr-un anume univers imaginar, construit prin limbajul poetic. Tulburtoarea problem a Luceafrului eminescian cuprinde i emoia descoperirii, n receptare, a genezei sale. Din punctul de vedere al cunoaterii etapelor creaiei, Luceafrul a avut un destin la fel de deosebit ca i evoluia frmntat a exegezei sale, care de 120 de ani asalteaz, din diverse perspective, taina acestui seductor poem. Cunoaterea i recuperarea n circuitul valoric a variantelor manuscrise ale poemului are, de asemenea, o istorie ce mbie nc.Adevratul laborator al lucrului asupra expresiei l vom putea urmri n avatarurile variantelor din cadrul unei versiuni, asa cum ediia noastr le prezint, pe coloane paralele. n aceast faz a lucrului, pentru fiecare versiune n parte, Eminescu nu a meditat neaprat asupra perfeciunii versului, ci s-a concentrat asupra ideii poetice“, care este sufletul“, cum zice poetul. Revenirile ulterioare, de la o versiune la alta, atest, pe lng continuitatea creaiei, cu meandrele, cu inovaiile unor idei poetice insolite, i un altfel de proces, cel al rafinrii stilistice. Intenia ediiei noastre este reflectarea travaliului eminescian la o versiune, nlesnind urmrirea variantelor cu transformrile, prefacerile spontane i revenirile lor la forme anterioare.“ (Rodica Marian)

Femeia este o fiin uman care plvrgete, se mbrac i se dezbrac.“ – VoltairePractici eficiente de pick-up. nceptor Fii pe faz! Urmeaz cursul de iniiere n ale pick-up-ului.Primo. Cine eti i doreti ceva i chiar obii sau doar visezi i colectezi frustrriSecundo. Ce tii s faci Procedee, tehnici i metode... Te tenteaz Citete.Tero. Rezultatul ine minte, rezultatul nu poate fi dect unul de succes.Pick-up – un model de comportament al omului de succes, dar i o abordare bine gndit a comunicrii cu persoanele de sex opus i seducerea lor. Pentru aceasta ai nevoie de un maxim de informaie util i dexteritate.Deoarece brbaii erau cei care se pricepeau s scrie mai bine, femeile au fost acelea crora li s-au atribuit toate nenorocirile din lume.“ – Samuel JohnsonFemeile... sunt diferite. Sunt printre noi, ne vorbesc, i doresc ceva, cer ceva, ofer ceva, ne ceart pentru osetele aruncate peste tot i ne calc cmile, vorbesc ncontinuu i ne invadeaz bile cu sute de sticlue viu colorate. Au ptruns adnc n viaa noastr i chiar dac ne pare c ne-am obinuit cu ele, ntotdeauna reuesc s ne surprind. n fiece zi i la orice or.Chiar i cea pe care o tii de o via i i cunoti toate obiceiurile e capabil de unele chestii care te las masc. i nu o face intenionat, ci doar ca s-i trezeasc interesul, pentru c face parte din firea ei. Probabil, aceast capacitate de a se comporta ciudat n cele mai simple situaii le este ntiprit n codul ADN.i am gsit c mai amar dect moartea este femeia a crei inim este o curs i ale crei mini sunt nite lanuri; cel plcut lui Dumnezeu scap de ea, dar cel pctos este prins de ea.“ (Eclesiastul 7:26)

A crete copii este un lucru riscant, cci reuita depinde de mult trud i grij, iar nereuita ntrece orice alt durere, spunea Democrit. E trist i frustrant s-i vezi copilul nepstor sau, mai ru, dispreuitor fa de coal i nvtur, dar, orict ar prea de incredibil, nu e vina lui. Succesul su la coal i dragostea de carte depind n cea mai mare msur de educaia pe care noi, ca prini, i-o dm n primii apte ani de via, de mediul familial pe care i-l oferim i de valoarea pe care noi nine o acordm cunoaterii. Averile se cldesc i se pierd, ne nal i ne coboar, ne fac puternici i ne nimicesc. Singur, comoara minii sporete, nu e niciodat n pericol s se piard i poate fi druit zilnic, fr grija c se mpuineaz.“ – Irina Petreai tu poi fi Supernanny. Cu copilul la coal este cel de-al doilea volum al seriei inaugurate de Irina Petrea, din care face parte i cartea i tu poi fi Supernanny. Cum s-i creti bine copilul i i propune s ia n discuie principalele probleme ale copilului la coal. De asemenea, ofer sugestii utile pentru prini i pentru cei care se ocup de creterea copilului-colar.Performanele copilului n coal sunt o prioritate pentru prinii contiincioi, iar problemele legate de studiu i disciplina nu sunt nici puine, nici uoare i, mai ales, nu au ntotdeauna cauze evidente. Chiulul, temele, notele, examenele i violen n coal sunt subiectele cel mai des aduse n discuie la edinele cu prinii i la cabinetele de consiliere. Prinii ateapt soluii-miracol la problemele lor cnd, de fapt, acestea sunt problemele copiilor lor. Prinii obinuiesc s se ntrebe de ce, oare, mi face copilul meu probleme n loc s se ntrebe de ce are copilul meu problemeCopilul nu e un roboel pe care l repari dac se stric, nici o fiin ce trebuie dresat i adus la obedien total. E o persoan aflat n cretere, ce are nevoie de afeciune, ocrotire i, da, instruire pentru a se putea dezvolta normal, pentru a putea s-i valorifice ct mai bine potenialul de care dispune. Performanele sale colare nu depind numai de inteligena lui, ci i de mediul familial n care crete, precum i de coal pe care o frecventeaz, prin urmare, are nevoie ca familia i coala s coopereze i s coopereze strns.Din pcate, la noi, se ntmpl adesea exact pe dos i elevul devine o minge de fotbal n meciul dintre prini i cadre didactice. Cnd miza este dezvoltarea copilului i devenirea lui, orgoliile nu-i au rostul. Pn la urm, orice copil este investiia cea mai important a oricrei societi i cu toii avem nevoie s-l privim ca pe o responsabilitate colectiv.

Ghidul tehnoredactorului. De la print la eBook, scris ?n colaborare de Vlad Puescu ?i Victor Jalb?-?oimaru, ??i propune s? fie ?un manual de utilizare“ pentru c?r?ile electronice, o specie editorial? ?nc? insuficient cunoscut? ?i agreat? pe pia?a editorial? din Rom?nia. Tocmai din dorin?a de a sublinia faptul c? eBookurile nu sunt ?bastarzii“ industriei editoriale, a?a cum poate le mai percep ?nc? unii, ci o etap? fireasc?, necesar? ?i, de ce nu, chiar superioar? ?n evolu?ia acesteia, ghidul propune, ?n primele sale capitole, o istorie a c?r?ii ?n diacronie, de la anticele t?bli?e de lut ?i suluri de papirus la forma contemporan? a c?r?ii. Trec?nd de la codexul primelor secole cre?tine ?i manuscrisele medievale la etapa presei tipografice cu caractere de plumb, pentru a ajunge la revolu?ia tiparului marcat? de contribu?ia lui Gutenberg ?i, implicit, la secularizarea ?i democratizarea cunoa?terii, cartea tip?rit? a fost, vreme de cinci secole, ?cea mai durabil? ?i mai eficient? form? prin care a fost depozitat? ?i transmis? cunoa?terea“, timp ?n care ?i nici industria de profil nu a mai cunoscut transform?ri dramatice. De?i varianta digital? a c?r?ii a fost ?i continu? ?nc? s? fie ?boicotat?“ de bibliofili ?i de unele voci din interiorul industriei editoriale, care au profe?it sumbru moartea c?r?ii fizice, apari?ia c?r?ii electronice nu constituie ?ns? dec?t un pas absolut firesc de evolu?ie av?nd ?n vedere schimb?rile majore de la nivelul stilului general de via?? impuse de c?tre dezvoltarea computerelor ?i de apari?ia internetului. Ghidul tehnoredactorului. De la print la eBook sus?ine ideea aceasta at?t prin multitudinea de informa?ii privind dezvoltarea pie?ei digitale (marcat? de apari?ia a tot mai multe eBook Readere, ca dispozitive de gen, introduse pe pia?? de lan?uri de libr?rii precum Amazon, Barnes & Noble, Kobo etc.), c?t ?i prin enumerarea avantajelor pe care le presupune lectura digital?, ?ntre care personalizarea experien?ei de lectur?, posibilitatea index?rii facile ?i a activ?rii cu u?urin?? a func?iilor de dic?ionar, ?mbog??irea con?inutului, crearea unei comunit??i globale de cititori ?i interactivitatea. Pentru ?n?elegerea ?n ansamblu a fenomenului sunt trecute ?n revist? ?i explicate ?i tipurile de c?r?i electronice, ?mbog??ite ?i interactive, de formate digitale ?i de dispozitive de lectur?.Partea a doua a ghidului, cu caracter tehnic ?i specializat, se ocup? de procesul de tehnoredactare ?n ansamblu at?t pentru edi?ia tip?rit? a unei c?r?i, c?t ?i pentru formatul s?u digital, ?ntr-un demers amplu, care pleac? de la discutarea problemelor de software aferent produc?iei, sisteme de operare, layouturi de tastatur?, utilitare, pluginuri, extensii ?i scripturi, p?n? la preg?tirea ?i importarea textului ?n formatul de paginare ?i aspectele legate de punerea ?n pagin? a unei c?r?i (formatul, corpul de liter?, stiluri, grafic?, pozi?ionarea notelor ilustra?iilor ?i tabelelor), dar ajung?nd s? abordeze ?i problemele pe care le presupune trecerea pe print ?n edi?ia digital? (metadate, introducerea copertei, op?iuni specifice de export c?tre ePub, op?iuni de validare).Ghidul tehnoredactorului… are meritul de a propune ?i o list? de referin?e bibliografice esen?iale, nu neap?rat ca o anex? la carte, c?t ?ntre?esute pe tot parcursul textului, ?n curgerea fireasc? a procesului de expunere, interpretare ?i explicitare a informa?iilor.

I met him first in a hurricane; and though we had gone through the hurricane on the same schooner, it was not until the schooner had gone to pieces under us that I first laid eyes on him. Without doubt I had seen him with the rest of the kanaka crew on board, but I had not consciously been aware of his existence, for the Petite Jeanne was rather overcrowded. ??In addition to her eight or ten kanaka seamen, her white captain, mate, and supercargo, and her six cabin passengers, she sailed from Rangiroa with something like eighty-five deck passengers—Paumotans and Tahitians, men, women, and children each with a trade box, to say nothing of sleeping mats, blankets, and clothes bundles.??The pearling season in the Paumotus was over, and all hands were returning to Tahiti. The six of us cabin passengers were pearl buyers. Two were Americans, one was Ah Choon (the whitest Chinese I have ever known), one was a German, one was a Polish Jew, and I completed the half dozen. ?

"DECEIVED in FRIENDSHIP and BETRAYED in LOVE."??Jane Austen (16 December 1775 – 18 July 1817) was an English novelist whose works of romantic fiction, set among the landed gentry, earned her a place as one of the most widely read writers in English literature. Her realism, biting irony and social commentary have gained her historical importance among scholars and critics.??How often, in answer to my repeated intreaties that you would give my Daughter a regular detail of the Misfortunes and Adventures of your Life, have you said "No, my freind never will I comply with your request till I may be no longer in Danger of again experiencing such dreadful ones."??Surely that time is now at hand. You are this day 55. If a woman may ever be said to be in safety from the determined Perseverance of disagreeable Lovers and the cruel Persecutions of obstinate Fathers, surely it must be at such a time of Life: ??ISABEL

COMMON opinion said that Lord Lynborough ought never to have had a peerage and forty thousand a year; he ought to have had a pound a week and a back bedroom in Bloomsbury. Then he would have become an eminent man; as it was, he turned out only a singularly erratic individual. So much for common opinion. Let no more be heard of its dull utilitarian judgments! There are plenty of eminent men—at the mo-ment, it is believed, no less than seventy Cabinet and ex-Cabinet Ministers (or thereabouts)—to say nothing of Bishops, Judges, and the British Academy—and all this in a nook of the world! (And the world too is a point!) Lynborough was something much more un-common; it is not, however, quite easy to say what. Let the question be postponed; perhaps the story itself will answer it. He started life—or was started in it—in a series of surroundings of unimpeachable orthodoxy—Eton, Christ Church, the Grenadier Guards. He left each of these schools of mental culture and bodily discipline, not under a cloud—that metaphor would be ludicrously inept—but in an explosion. That, having been thus shot out of the first, he managed to enter the second—that, having been shot out of the second, he walked placidly into the third—that, having been shot out of the third, he suffered no apparent damage from his repeated propulsions—these are matters explicable only by a secret knowledge of British institutions. His father was strong, his mother came of stock even stronger; he himself—Ambrose Caverly as he then was—was very popular, and extraordinarily handsome in his unusual outlandish style. His father being still alive—and, though devoted to him, by now apprehensive of his doings—his means were for the next few years limited. Yet he contrived to employ himself. He took a soup-kitchen and ran it; he took a yacht and sank it; he took a public-house, ruined it, and got himself severely fined for watering the beer in the Temperance interest. This injustice rankled in him deeply, and seems to have permanently influenced his development. For a time he forsook the world and joined a sect of persons who called themselves “Theophilanthropists”—and surely no man could call himself much more than that? Returning to mundane affairs, he refused to pay his rates, stood for Parliament in the Socialist interest, and, being defeated, declared himself a practical follower of Count Tolstoy. His father advising a short holiday, he went off and narrowly escaped being shot somewhere in the Balkans, owing to his having taken too keen an interest in local politics. (He ought to have been shot; he was clear—and even vehement—on that point in a letter which he wrote to The Times.) Then he sent for Leonard Stabb, disappeared in company with that gentleman, and was no more seen for some years.

"Asemeni ecologilor, care privesc natura ca pe un mediu indispensabil de supravie?uire ?i cer stoparea polu?rii pentru ca urma?ii no?tri s? mai poat? avea ce respira, ?i Mihai Maci prive?te ?nv???m?ntul ca pe un mediu de via??, indispensabil pentru viitorul na?iunii ?i pus sever ?n discu?ie de iresponsa?bilitatea distrugerii condi?iilor care fac posibile producerea ?i reproducerea binelui comun.?Vom disp?rea, ne avertizeaz? Maci cu vocea sa bl?nd?, iubitoare ?i ?nc?rcat? de disperare." -?H. R. Patapievici "Atunci c?nd abdic? de la menirea ei, ?coala nu e o simpl? institu?ie iner?ial?, ci una deformatoare. ?i nu deformeaz? doar spatele copiilor, ci, ?n primul r?nd, sufletele lor. Elevul care ?nva?? c? poate ob?ine note mari cu referate de pe internet e adultul de m?ine care va plagia f?r? remu?c?ri, cel care-?i copiaz? temele ?n pauz? va alege ?ntotdeauna?scurt?tura,?iar cel care promoveaz? cu?interven?ii?va ?ti c? la baza reu?itei st? nu cunoa?terea, ci?cuno?tin?ele. Luate indi?vidual, lucrurile acestea pot p?rea m?runte, ?ns? cumulate, ele dau m?sura deform?rii lumii ?n care tr?im ?i arunc? o umbr? grea asupra viitorului pe care ni-l dorim altfel." -?Mihai Maci Colec?ia Contributors?reune?te lucr?ri informative, inteligente, semnate de nume cu autoritate ?n diverse domenii. Cititorul va g?si ?n paginile colec?iei argumente conving?toare, analiz? riguroas? ?i independen?? ?n g?ndire. Volumele incluse ?n aceast? colec?ie sunt menite s? te fac? s? ?n?elegi ideile, tendin?ele ?i muta?iile din lumea modern?, din actualitatea imedi?at? ?i din min?ile celor ce provoac? sau decid schimb?rile.??Anatomia unei imposturi, de Mihai Maci, este al doilea volum al colec?iei Contributors.