Steve Nolan

From the mountains of Afghanistan, to the devastated cities of Ukraine, to the ransacked Capitol of the United States, Steve Nolan takes you on an intimate journey, a portrait of destruction and the human impulse to rise from the rubble to construct a new palace on the ruins of the last. Whether referencing civilization, government, or a single soul, his poetry pays tribute to those who manage to find treasure amongst the shards of a shattered individual life or the shattered dreams of history. In his theme poem, "The Longest Dream in the World," he shares this: The longest dream hasn't died. Dreams are not subject to deathlike ideologies, one stackedupon the archeology of the other-a palace of ruins... The dream, like the wind, is the breathof the world.

Had I been faced with any service member who stated that sexual assault was due to putting men and women together, who refused to believe that their commander in chief was a U. S. citizen, who thought he knew more than the generals, who believed and claimed that enemy leadership was stronger than American leadership, that we should murder family members of terrorists, that the Geneva Conventions tie the hands of our military, that proven U. S. intelligence is a hoax, that Neo-Nazis are fine people, or that a free press is the enemy of the people, I would be obligated to discharge that person from the military.

The poems in Base Camp take us from the steep slopes of Mt. Everest to the darkness where thirty-three Chilean miners are trapped. With an insistent empathy born of passion, trauma, and illness, Nolan's poems reach out to women making their daily trek for water and to an ice-trapped whale, from a medic tending the wounded in the range of fire to an abused three-year-old hiding in shadows. Written with a directness that does not indulge in distracting pyrotechnics of obscurity, these poems invite us "home/to the repository of music: the human heart."

Newly diagnosed with multiple myeloma, Steve Nolan called every person in the country rumored to have the same form of cancer. He was misinformed about NJ DeVico's leukemia; she had myelodysplastic syndrome. The initial phone call revealed his love of poetry and her love of art. A collaboration--and friendship--was born. Nolan has been writing poetry for 40 years, has spent time in Afghanistan, and as a social worker in the US Army and Air Force. DeVico fell in love with Crayola crayons 56 years ago, but has since moved up to oil pastels.

Spirituality is a multifaceted speciality; anyone who wants to understand it must look across a range of disciplines, which can often make it seem overwhelming and incomplete. This book will act as a reference resource for readers looking to develop their study of spirituality and its relevance to health and social care.

In their study of religion and film, religious film analysts have tended to privilege religion. Uniquely, this study treats the two disciplines as genuine equals, by regarding both liturgy and film as representational media. Steve Nolan argues that, in each case, subjects identify with a represented 'other' which joins them into a narrative where they become participants in an ideological 'reality'. Finding many current approaches to religious film analysis lacking, Film, Lacan and the Subject of Religion explores the film theory other writers ignore, particularly that mix of psychoanalysis, Marxism and semiotics - often termed Screen theory - that attempts to understand how cinematic representation shapes spectator identity. Using translations and commentary on Lacan not originally available to Screen theorists, Nolan returns to Lacan's contribution to psychoanalytic film theory and offers a sustained application to religious practice, examining several 'priest films' and real-life case study to expose the way liturgical representation shapes religious identity. Film, Lacan and the Subject of Religion proposes an interpretive strategy by which religious film analysts can develop the kind of analysis that engages with and critiques both cultural and religious practice.

Chaplains in healthcare settings offer patients spiritual care that involves companionship, counselling and maintaining hope. This is particularly important at the point where a patient has run out of treatment possibilities. This book reflects creatively on the work that chaplains do with people who are dying and the unique quality of the relationship that palliative care professionals construct with patients at the end of life. Based on qualitative research with practising palliative care chaplains, Spiritual Care at the End of Life explores the nature of hope in its different forms at different stages of terminal illness, and asks how chaplains can help dying people to be hopeful even when facing the inevitability of their death. The book identifies key moments in this relationship, from the person's initial reaction to the chaplain, to the chaplain becoming an accompanying presence and creating the potential to provide comfort, strength and "hope in the present". This thoughtful and inquisitive book investigates the underlying theory that spiritual care is rooted in relationship. It has implications for practice in the work of chaplains, counsellors and all healthcare professionals supporting people who are dying.

This book proposes an interpretive strategy by which religious film-analysts can develop the kind of analysis that engages with and critiques both cultural and religious practice. In their study of religion and film, religious film-analysts have tended to privilege religion. Uniquely, this study treats the two disciplines as genuine equals, by regarding both liturgy and film as representational media. Steve Nolan argues that, in each case, subjects identify with a represented 'other' which joins them into a narrative where they become participants in an ideological 'reality'. Finding many current approaches to religious film-analysis lacking, "Film, Lacan and the Subject of Film" explores the film theory other writers ignore, particularly that mix of psychoanalysis, Marxism and semiotics - often termed Screen theory - that attempts to understand how cinematic representation shapes spectator identity. Using translations and commentary on Lacan not originally available to Screen theorists, Nolan returns to Lacan's contribution to psychoanalytic film theory and offers a sustained application to religious practice, examining several 'priest films' and real-life case study to expose the way liturgical representation shapes religious identity. "Film, Lacan and the Subject of Film" proposes an interpretive strategy by which religious film-analysts can develop the kind of analysis that engages with and critiques both cultural and religious practice.