Download What Made Maddy Run: The Secret Struggles and Tragic Death of an All-American Teen

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What Made Maddy Run: The Secret Struggles and Tragic Death of an All-American Teen

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Audible Audiobook

Listening Length: 7 hours and 36 minutes

Program Type: Audiobook

Version: Unabridged

Publisher: Hachette Audio

Audible.com Release Date: August 1, 2017

Whispersync for Voice: Ready

Language: English, English

ASIN: B073X22V39

Amazon Best Sellers Rank:

Kate Fagan is an excellent writer who interrupts an outstanding read with boring, benign and utterly useless personal anecdotes about her own athletic "career", which is intended to draw a parallel (I believe) between her and the subject and instead comes off as the writer screaming "GOOGLE ME!(!), I was a college athlete!". Speaking of Google. Google the original ESPN the Magazine article. Every salient detail you need to know and feel this story is there.

Absolutely heartbreaking story, but the reason why I am going into the field I am. I was drawn to Maddy's story when it first happened because I related to it so much & it broke my heart that she wasn't able to find her way out too. I think it's so important for stories like these to be out there because people often think "it can't happen to me" because they're good parents, have money, live in good areas, kids seem successful, etc., but the reality is that mental illness doesn't discriminate. Maddy's parents seemed to do everything they could & yet it still happened to them. Maddy was CERTAINLY successful, but it still happened to her. My heart broke for her dad when he took her back to school & stayed behind just to make sure she seemed ok, planned to bring her back for regular therapy appointments (Maddy had told them she was struggling with suicidal thoughts), & yet even with him doing everything he thought he could, he still got that heartbreaking phone call. The story was well written, showing several sides to it, & for her parents to be willing to share their heartache in such detail will definitely have an impact.There was much more of Kate's input in the story than I thought there would be...I went into it thinking she was just the investigative reporter, but she shared a lot of her own story in there which I didn't relate to at all. I found myself skipping past her sections just to get to the rest of Maddy's story. Maybe some people would be more interested in Kate's story, but it just wasn't for me. I'd still highly recommend the book though - it really sheds light on a very important issue in a very personal, relatable way.

I wish I could say that this book was amazing but it was just ok. Despite it being a very interesting topic to me, I found myself starting to skim through it. I think the way it was written, it would have made a great magazine article but as a whole book it just didn't quite keep my interest. A few chapters in and I was ready to move on. I did really like the book cover and the title and applaud the author for covering a great topic.

I am a sixty year old woman with four children and three grandchildren. I’m not sure what made me buy this book. I’m not usually a non-fiction reader. I think the topic of suicide leaves everyone feeling so empty and the thought of this type of loss is unimaginable.By our society’s standards, Mandy had it all; a loving family, a huge group of friends to offer support, a God given talent to run, and yet, it wasn’t enough. Her poor family. They did everything “right.” That’s what is so scary.I believe that anyone that reads this will find Maddys story so compelling and truly something they can relate to. Some of her feelings brought back similar feelings I had when I attended my dream college and left after one year. Suicide never crossed my mind but I can tell you I was troubled and my self esteem was low. I finished school in four years ( my absolute promise to myself)but personally I made some bad choices during this time.How do we talk to our kids and grand children so they will never make the same choice Maddy did? After reading the book, I’m not certain I know the answer to that. I do know that I will talk to them just like maddys parents did and hope and pray that they will never feel so desperate.I would definitely recommend this book

This book did a really great job of telling Maddy's story as thoroughly as possible while also taking a broader look at college suicide as well. The author delves into Maddy's journey from high school to college and paints a revealing picture of a young woman trying to downplay her downward spiral into anxiety and depression; it explains how so many signs were missed without attempting to lay blame or provide reasons. The author did a great job of putting together the pieces of Maddy's life that were kept separate before by circumstance and by Maddy herself. At the same time, the author takes step back and looks at this suicide in the context of the college experience and illustrates how the increasing focus on performance creates a pressure cooker environment for many young people thrust into the college/sports arena.

No book is perfect. When you take the subject fo suicide even less so. The author does a fantastic job of taking the life of a young woman and trying to explain why she lost the battle to depression. She used her experiences as a mentally healthy individual in comparison to try and show not everyone processes and handles situations the same way. In the end the book does not answer the question of why. The truth is the only one who could ever know why was maddy.As someone who has made attempts in the past I can honestly say this book really hits on a lot of truths. The truths are grey but they are truths.I cried so much and this book took me a long time to finish. The farther I got the longer it took. That is a good thing. Suicide is a harsh subject. There is no easy way to discuss it, at least their shouldn't be. You dont have to be an athlete or have gone to college to have experienced feelings similar to maddy's.That said while I doubt the family reads any book reviews and try to avoid reminders I just want to say my heart goes out and thank you for sharing.

Bought this book to learn more about Maddy’s story am done what drove her to take her own life.The author spent more time talking abut her life and her story than Maddy’sKate used Maddy’s story in order to tell her own.

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Download , by Hank Dunn

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Product details

File Size: 1766 KB

Print Length: 88 pages

Publisher: Quality of Life Publishing Co.; 6 edition (July 7, 2016)

Publication Date: July 7, 2016

Sold by: Amazon Digital Services LLC

Language: English

ASIN: B01I5WBI5U

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The casual easy reading style. A great handbook for both caregivers and the patient. If you have faith in Jesus Christ as your Savior it is not dying it's merely passing on to a new life.

tough to read, but needed it

Excellent resource for end of life discussions.

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Free Download Keeping an Eye Open: Essays on Art (Vintage International), by Julian Barnes

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Keeping an Eye Open: Essays on Art (Vintage International), by Julian Barnes

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Review

“Eloquent. . . . This is a novelist’s criticism, full of motion and drama.” —The Washington Post“An engaging and empathetic volume.” —The New York Times Book Review“Perceptive. . . . Generous and discerning.” —The Boston Globe   “Fascinating and brilliant. . . . This magnificent survey draws its strength from its intensely personal focus, each piece reverberating off the others.” —The Financial Times  “Illuminating. . . . Avid and thoughtful. . . . [Barnes] chatters like the gifted novelist he is, using his eye for the telling detail, his narrative intuition and his understanding of the creative process to help us see familiar artists like Degas, Braque and Magritte afresh, and to appreciate the work of lesser-known masters as well.” —The New York Times “[A] superb collection. . . . Barnes’s observations and expression prov[e] equally adept and satisfying.” —Minneapolis Star Tribune “This is art writing of the first order. . . . Page after page, essay after essay, Barnes pulls off the sort of acrobatically erudite performance that ultimately draws as much admiration for him as for the art he describes.” —Richmond Times-Dispatch  “Powerful accounts of interconnections between art and artist. . . . Sharply observed and richly illuminating. . . . Barnes has a wonderful eye for what makes a great picture, and a command of language that again and again allows readers to share what he sees.” —Times Literary Supplement “A readable, riveting, informed work with sharp, marvellous anecdotes and observations. . . . In this beautifully illustrated book you’re in great company.” —The Irish Independent “Extremely rewarding, informative, attentive, thoughtful, entertaining.” —The Evening Standard “Barnes weaves biography, history, philosophy in this fascinating, richly illuminating and beautifully written book.” —Art Quarterly “It’s both a pleasure and an education to look over Barnes’s shoulder as he interrogates, wonders at, and relishes works of art. He’s a critic who prioritizes the objects themselves, and his work is always satisfying.” —Publishers Weekly (starred review) “Scholarly and astute yet accessible and exciting. . . . Barnes focuses his analytical prowess on significant artists and their oeuvres, opening fresh vistas to readers—and viewers.” —Kirkus Reviews (starred) “Handsomely illustrated, superbly written, felicitously thought-provoking. . . . Barnes is a consummate stylist, not only because of his artistic command of language but also by virtue of his searching intelligence, incisive candor, rogue wit, and righteous fairness.” —Booklist “[Barnes] digs into fascinating details of isometric proportions. . . . Highly recommended to all art readers.” —Library Journal

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About the Author

Julian Barnes is the author of twenty other books including, most recently, The Noise of Time. He has received the Man Booker Prize, the Somerset Maugham Award, the Geoffrey Faber Memorial Prize, the David Cohen Prize for Literature and the E. M. Forster Award from the American Academy of Arts and Letters; in France, the Prix Médicis and the Prix Femina; and in Austria, the State Prize for European Literature. In 2004 he was named Commandeur de l’Ordre des Arts et des Lettres by the French Ministry of Culture. His work has been translated into more than forty languages. He lives in London. www.julianbarnes.com

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Product details

Series: Vintage International

Paperback: 288 pages

Publisher: Vintage; Reprint edition (June 13, 2017)

Language: English

ISBN-10: 110187337X

ISBN-13: 978-1101873373

Product Dimensions:

6.8 x 1 x 8.6 inches

Shipping Weight: 1.4 pounds (View shipping rates and policies)

Average Customer Review:

4.1 out of 5 stars

42 customer reviews

Amazon Best Sellers Rank:

#439,480 in Books (See Top 100 in Books)

Those who have read the stories of Julian Barnes will know how often he builds them around real figures in the arts: THE LEMON TABLE contains stories about Turgenev and Sibelius; Sarah Bernhart and the photographer Nadar play major roles in LEVELS OF LIFE; Flaubert gets a whole novel to himself (almost) in FLAUBERT'S PARROT; and a meticulous analysis of Géricault's painting "The Raft of the Medusa" forms the centerpiece of his HISTORY OF THE WORLD IN 10½ CHAPTERS. That essay is reprinted here, slightly expanded. It forms the beginning of a sequence of pieces on French-speaking artists of the 19th and 20th centuries -- Géricault, Delacroix, Courbet, Manet, Fantin-Latour, Cézanne, Degas, Redon, Bonnard, Vuillard, Valloton, Braque, and Magritte -- followed by a few moderns: Claes Oldenburg, Lucian Freud, and Howard Hodgkin. I am finding it utterly addictive.As a novelist, Barnes has an eye for the telling personal detail: Delacroix in a daze walking home to a house he had moved out of two years earlier; Courbet drinking himself into obesity and death; Cézanne losing his temper with a fidgety sitter. He compares Courbet to Fantin-Latour in terms of their portrayals of the community of artists, and Degas to Bonnard in terms of their attitudes to women; his entry into the proto-Surrealist work of Redon is the question of whether it matters if an artist is married. Littérateur that he is, Barnes also has an ear for what other writers have said about these artists: Maxime Du Camp describing Delacroix sorting skeins of wool; Baudelaire telling Manet "you are only the first in the degeneration of your art"; Huysmans' brilliant description of a Cézanne still life as "skewed fruit in besotted pottery."But Barnes' approach is by no means entirely biographical. The Géricault essay, for instance, begins with a detailed description of the wreck of the Medusa and the ordeal of the survivors on the raft. He makes excellent points by considering all the episodes in the story that Géricault did NOT paint. But it is when he considers what he DID paint, that extraordinary group of half-naked figures reaching towards the distant ship, that his writing really takes off. He does something similar again in his second essay on Manet, considering the artist's three versions of "The Execution of the Emperor Maximilian" and its role as a political statement, but nonetheless tying it down to precise analysis of details such as the firing squad's hands and feet: "They are feet settling themselves in for useful work, like when a golfer shuffles for balance in a bunker. You can almost imagine the NCO's pre-execution pep-talk about the importance of getting comfortable, relaxing the feet, then the knees and the hips, pretending you're just out for a day's partridge or woodcock..."."Fully illustrated in colour throughout" says the jacket flap. This is not true. The color illustrations (two or three per essay) are indeed of excellent quality and printed on thick creamy paper.* But they tend to be details rather than the full picture, and often of works peripheral to the artist's more famous oeuvre. I understand the logic of that: Barnes gives you the things that are hard to find, knowing that you can turn to the internet for the rest. I found myself reading with iPad by my side, not only reminding myself of the masterpieces, but also seeking out things that I had never even heard of until Barnes mentioned them. For example Akseli Gallen-Kallela's "Symposium" (1894), "a Munchishly hallucinatory group portrait set at the Kämp Hotel in Helsinki after much drink has been taken." Interesting in that one of stupefied figures is the composer Jean Sibelius, but also because one side of the picture is taken up by "a pair of deep-red raptor's wings. The Mystery of Art has just called in on them, but is now flying away." Barnes' art criticism, like his stories, is full of unexpected trouvailles like that. But the heart of all his essays is his invocation of masterpiece after masterpiece, in words so full of visual detail that you almost do not need the physical reproductions. Almost, but not quite: for only when you look at the pictures do you realize just how right Barnes is, time after time.======I originally wrote the above review (and awarded the five-star rating) when I was halfway through, after the essay on Bonnard. I was not surprised by its quality; Barnes is deeply immersed in the French nineteenth century. Reading on, though, I have to admit that my interest dropped off. Although still full of good observations, the later essays did not always achieve that miraculous balance between art, personality, and history. The essay on Vuillard seemed to miss the man; the one on Vallotton failed to convince about the genius; the piece on Oldenburg gave no good reason why it had been written at all; and the article on Lucian Freud succeeded only in conveying the impression of a very unpleasant individual. But even at the end, there were joys. His piece entitled "So does it become Art?" is Barnes at his best, taking an out-of-the-way subject -- plaster casts of dead bodies in 19th-century France and in our own time -- and deriving some very pertinent questions about the nature of art. And in the last essay of all, "Words for H.H.", Barnes does more for his old friend Howard Hodgkin than for any other artist in the book, by admitting to the limitations of words, and sketching a dance of friendship instead -- and by linking him to his great love of over a century before, the novelist Gustave Flaubert. So to the last line in the book: "So that's enough words." No more are needed.*My comments on the paper, printing, and quality of the reproductions apply to the British edition. I cannot speak to the American one, which appears to be in a rather different format.

Julian Barnes really does keep an eye open on art, and he is a pleasure to read. And a relief too: he doesn't shower you with explanations and theories as so many art critics do, he tells it how he sees it, not mincing his words. He reminds us that Flaubert thought that "it was impossible to explain one art form in terms of another" and that "great paintings required no words of explanation".True, but there is still work to do for a writer and art lover like Barnes. He gives us a sense of the evolution of art, his essays are pinpointing markers if you will, to help determine "good" art (likely to be meaningful to future generations) from "bad art" (momentarily popular, soon to be forgotten). What I find particularly intriguing is his personal list of artists that will endure the challenge of time, marking their century: "When the future looks back at the second half of the twentieth century in Britain, it will surely see it as a period dominated by painters: Bacon, Freud, Hockney,Hodgkin, Riley (and Caulfield, Auerbach, Hitchens, Aitchinson, Uglow).My only regret is that Barnes did not spread his net wider, to include, say, American or German painters of the same period. But at least his position vis a vis contemporary art is both coherent and sensible...

Barnes at his best is a master of opening his own readers' eyes -- not so much instructing as expanding one's awareness. Many of these essays do exactly that, and Barnes's style makes nearly all a pleasure to read. Although I appreciate that it likely would change the character of the book, even more illustrations to accompany his detailed descriptions would enhance his discussion. As he observes, words can only do so much. Also, perhaps because written with different intentions, a few pieces seem narrow or a bit out of place. It may be that I simply do not wholly share his sensibilities with respect to the sub-set of (mostly) French artists of a period that he considers, although he has made head-way in educating me. Taken as a collection, Barnes mostly achieves that difficult balance of melding his personal response with the observations of a great describer and thoughtful critic. Put differently, Barnes meets his own test of art that spurs the mind to reflection.A footnote: Although it may be an instance of the piece that strays, the short essay "So does it become art?" is one of those original and brilliant excursions at which Barnes shines. This is the one I marked for reference.

I've been a Barnes fan since Flaubert's Parrot" came out. If I really like an author I send copies to friends. Barns is my top gift author. His literary depth is brilliant with any genera or style he tackles. He weaves his considerable artful style into all his work.These essays should encourage everyone to pay attention to pictures. As a devoted Kindle reader, I enjoy reading Barns more now because his generosity with language is immediately and thoroughly accessible. I usually got peeved at authors who tossed "foreign," obscure and classical language around like peanuts to squirrels.

"Writing about music is as sensible as dancing about architecture"...or something like that. Barnes tackles the issue of one art-form commenting on another in the final essay (which isn't really an essay) in the book, but it's the book as a whole that elegantly refutes the idea that such commentary should be impossible.I never greatly enjoyed art criticism, finding it too self-engaged, until I found Barnes's treatment of Gericault in his History of the World. There's nothing else quite as all-encompassing here (the chapter is repeated as an opening salvo), but the cultured tone of an interesting and interested person pointing out interesting things is everywhere.

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Product details

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Audible Audiobook

Listening Length: 7 hours and 6 minutes

Program Type: Audiobook

Version: Unabridged

Publisher: Books in Motion

Audible.com Release Date: December 17, 2015

Language: English

ASIN: B019FQEJ92

Amazon Best Sellers Rank:

Based on the information on the cover and inside flap, I expected an account of a rabbi who had a Damascus road experience. Unfortunately, this book ended with the same unanswered questions it posed at its beginning. I was very disappointed. At the most, this information warranted a magazine article.

OK. I was surprised by his practices and fear of telling his findings. He is correct about Yeshua as the Messiah.

A very well written book. It is a book for those seeking more information about the end times or those looking for a better understanding of what they have already learned. If you are looking for a book to read for pleasure this book is not your cup of tea. I can highly recommend this book. To the author a "Well Done!"

Good read. I once memorized the 23 Psalm because of its beauty, but I didn't know the 22nd Psalm was so important. Haven't finished reading yet. LATER: Just finished. Still worth five stars.

Unfortunately, the author writes with historical triumphal point of you of Christianity trumps Judaism. It is not helpful with outreach to the Jewish people at all.

EVERY CHRISTIAN OR SOMEONE SEARCHING FOR CHRIST SHOULD READ THIS BOOK.

Great book

This book gives to much personal opinion of the author and I wish he would concentrate more on the message of the Rabbi and the results of that message on the Jewish community. Too much background story is given that is unnecessary.

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