John Harvey

What actions must a boy take to become a man? One might use a razor to clear his first growth of beard, while another could employ it as a weapon -- both actions might be a fitting rite of passage. In these dazzling works of fiction, seventeen masters of crime and suspense explore what it means to be a son, what it means to be a father, what it means to be a man. Spanning continents and decades, the stories are set in interconnected worlds both instantly recognizable and astonishingly believable, from long stretches on a dry Texas highway to a bleak London alley, from the claustrophobic confines of an after-hours backroom poker game to a rundown jazz joint in Manhattan. Amid card sharks, revolvers, and shallow graves, the characters who inhabit these stories strive to discover what is right, what will give them dignity, what will earn them respect. Whether at the age of ten or thirty-five, all will come face-to-face with a situation that will brutally separate the men from the boys.

Kun pikkurikolliset murtautuvat tunnetun televisio-ohjaajan rähjäiseen taloon, he eivät arvaa löytävänsä huumekätköä. Eikä ohjaajan vaimo arvaa rakastuvansa murtomieheen, saati tekevänsä tämän kanssa diiliä niin aviomiehestään kuin huume-erästäkin. Kunnon etsivän tapaan komisario Charles Resnick epäilee, että kuvion alle kätkeytyy jotain vielä hämärämpää. Tutkimukset johdattavat Resnickin ja hänen ammattitaitoisen tiiminsä syvälle televisiomaailman ristiriitoihin ja Nottinghamin teollisuuskaupungin hämäriin huumeympyröihin. Puolalaissyntyinen, jazzista ja kissoista pitävä, sympaattinen Charles Resnick hallitsee kuuntelemisen taidon ja luottaa intuition voimaan. Arvostetun brittikirjailijan John Harveyn yli kymmenelle kielelle käännetyn Resnick-sarjan ensimmäinen suomennos Yksinäisiä sydämiä ilmestyi vuonna 1997.

This memoir of an Englishman in the French Foreign Legion during the Syrian campaign of the late 1920s relates the brutal story of life in the Legion and war in the deserts of Syria. John Harvey joined the Foreign Legion with the assumption that he would receive a substantial bonus and a glorious adventure. He was wrong on both points. Described is the siege of Rachaya Fort against the Druse faction in Syria, a famous and bloody battle.

Shirley Peters on murhattu. Uhrin äiti on varma, että syyllinen on Shirleyn entinen poikaystävä. Mies pidätetään kuulusteltavaksi. Tapahtuu kuitenkin uusi seksuaalimurha, ja komisario Charles Resnick oivaltaa joutuneensa vastakkain sarjamurhaajan kanssa. Myös ratkaiseva linkki löytyy: molemmat murhatut olivat jättäneet ilmoituksen päivälehden yksinäisten sydämien palstalle. Niinpä Resnick sukeltaa unelmiensa prinssistä haaveilevien eronneiden naisten harmaaseen maailmaan - ja kokee itsekin orastavan rakkauden.

With this book, John H. Harvey—widely acknowledged as a key founder of the field of loss and trauma—introduces this broad, interdisciplinary field to undergraduate and beginning graduate students. While many texts cover individual areas such as death and dying or stress and coping, none cover the diversity of loss events that Harvey does in this single volume. Perspectives on Loss and Trauma is the first undergraduate text to present major loss as an encompassing category that includes trauma, death and dying, and stress and coping. It reviews theory and research on the most challenging types of human loss and trauma: death and dying disease and injuries war and violence divorce and dissolution unemployment and homelessness the holocaust and genocide Written in consideration of cross-cultural, international perspectives on loss, Perspectives on Loss and Trauma discusses relevant therapy approaches and emphasizes a story-telling approach to coping with major loss. It concludes with chapters on therapy and personal adjustment to loss, providing immediate applicability to counselors, therapists, social workers, and other human service professionals.

A comprehensive view of how mind, body and emotions interact to create stress and what can be done to control it.

In this innovative and lavishly illustrated study John Harvey examines the visual expression of religious and spiritual concepts in Nonconformist Wales. He discusses his subject within a broad cultural context which includes fine art, architecture, preaching, hymnology and such intangible manifestations as visions. The author argues that the Bible had a strong influence on the visual idiolect of Nonconformists during the nineteenth and twentieth centuries and that it permeated their perception, interpretation and representation of life. This is perhaps most apparent in the imagery of hymns and sermon illustrations and in the vocabulary and phraseology of preachers, but its effect on Welsh visual culture was also profound and far-reaching and affected both the mode and idiom of religious visions as well as the exterior and interior features of the chapel. John Harvey explores his subject with particular reference to the intertwined concepts of religion and mining in the south Wales coalfields. He examines the tradition of biblical identity and fusion as manifest in the visionary experiences of miners and their families since the 1904 revival: the architectural similarities between chapels, collieries and Old Testament places of worship, and sermon illustrations which derived spiritual meanings and lessons from the harsh realities of coal-mining. Latterly, this tradition is evident in the paintings of Nicholas Evans. Arguably, this principle of visualization whereby heavenly realities are clothed in tangible earthly garb, constitutes one of the most distinctive manifestations of Welsh visual culture.

Men's clothes went black in the nineteenth century: Dickens, Ruskin and Baudelaire all asked why it was, in this age of supreme wealth and power, that men wanted to dress as if going to a funeral. For an answer one must look at the history of black. Over the last 1000 years there have been successive expansions in the wearing of black from the Church to the Court, from the Court to officials and the merchant class. Though the fashion was often smart and elegant, the growth and expansion of it were fed by several dark currents in Europe's history: politics; asceticism; and, religious warfare. It was only in the nineteenth century that the black fashion fully came into its own; the most telling witnesses constantly saw connections between the taste for black and the forms of constraint with which European society regimented itself. Although the twentieth century has aimed for new colours and a new direction, black has retained its authority as well as its associations with strength and cruelty. At the same time black is still smart, and fashion keeps returning to it. It is, perhaps, the colour that has come to acquire the greatest, most significant range of meaning in human history.

Concentrating on the general shift away from colour in men's clothing that began around 1800, John Harvey traces the transition to black from the 15th century, to 16th century Venice, 17th century Spain, and eventually to the Netherlands. The text seeks to show how black evolved from being smart and elegant fashion to serving as a cultural marker. The volume points to the fact that in current times the colour black retains its associations with strength and cruelty as well as its authority.

This book challenges the popular fallacy that Nonconformity had no use for art, and contests the view that Welsh Nonconformity had a wholly negative effect on the visual arts in Wales. During the nineteenth and early twentieth centuries, the visual expression of Nonconformist culture was prolific, and a vital means of maintaining the devotional life of believers and of communicating Nonconformist ideals to those outside the faith. While Reformation doctrine prohibited the use of images in worship, it did not stop Welsh Nonconformists from using art in the service of religion, or from making a positive contribution to the visual culture of Wales. John Harvey brings together, for the first time, the many types of religious artefacts and ephemera of Welsh Nonconformity, and examines them from art historical, theological, and sociological perspectives. He explodes the myth that chapels were devoid of artistic and symbolic elaborations by analysing the images which decorated chapel and home, commemorated leaders and notable events, and aided the teaching of the faith. Through the study of artefacts ranging from paintings, prints, photographs, sculpture, stained glass, ceramics, to wall decoration and chapel furniture, banners and embroidered works, Bible illustrations and Sunday School picture-cards, the author defines the visual expression of one of the most pervasive cultural and social influences on Wales during the last two centuries.

The editors of the book and the contributors challenge library schools to internationalize their curricula at a time when provincial nationalism seems to be prevalent and the profession on the whole is more concerned with the how to rather than the why, and when information technology is being studied almost in isolation from the key social issues of the computer age. The book should be read by all individuals concerned with library education and international programs in particular and the library/information profession in general. Library QuarterlyInternationalizing Library and Information Science Education: A Handbook of Policies and Procedures in Administration and Curriculum deals with one of the most critical issues in librarianship today: the complexities involved in operating libraries in a world where the international exchange of ideas, activities, and technologies is a constant force. As defined by editors John F. Harvey and Frances Laverne Carroll, internationalism is the process by which a nationally defined library topic, curriculum, or school becomes responsive to international policies or perspectives. The theme of this volume is this change in perspective.