New Releases by Richard Greene

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Everyone who writes in the world of public affairs wants to make arguments that will move readers and shape policy. That world, however, is busy and noisy, and even the best ideas often get squeezed out in the frenetic pace of policy debates. No author wants that to happen to their hard work. In this fresh and lively book, Barrett, Greene, and Kettl combine more than a century of experience in writing to present a series of guidelines that will enable readers to successfully frame a policy argument; pitch it to editors; organize the work so that the ideas have real impact; support it with data and stories; find the right publisher; and follow up after publication to ensure that the argument has enduring impact. These basic steps work well—but work differently—for a wide variety of policy writing, from short blog posts through an op-eds, commentaries and policy briefs, dissertations, articles for both the popular press and academic journals, and books. The book is a handy manual for writers in the world of research who want to explore the start-to-finish process of writing for impact—and for authors who want to explore a single writing challenge in-depth. It is full of examples of both good and bad writing, as well as the authors’ own tales in navigating the road from a new idea to a written product that packs punch. It’s a fun and useful primer for steering the policy debate.

"You hold in your hands a story of vision, innovation and proof of the power of the gospel." DR. ERWIN LUTZER, Pastor Emeritus Moody Church Carlos was a master cocaine producer for drug lord Pablo Escobar. In officially atheistic Albania, Berti monitored the airwaves to help defend his communist homeland. Rachid grew up in Morocco, preparing to one day lead a local mosque - like his father. How would any of them ever have the opportunity to hear the good news that Jesus Christ died on the cross to give them new, eternal life? In the middle of the 20th century, Paul Freed founded Trans World Radio based on a vision: Media could overcome cultural, political and geographic barriers to help the Church make disciples of all nations. Seven decades later, TWR continues making waves by leveraging radio, multimedia websites, animated Bible videos and more to bring the gospel to hostile lands, places missionaries can''t go and unreached people groups in over 230 languages. Making Waves compellingly weaves together listener testimonies like those of Carlos, Berti and Rachid with reports and personal accounts by TWR staff and leaders. Authors Richard Greene and John Lundy paint a dynamic portrait of how the Lord is using TWR, its partners and media to transform individuals'' lives. We hope it will embolden God''s calling in your own life!

Richard Greene has been writing poetry intensively since he retired from a 38-year career in international development in the mid-1990s. A lawyer by training, he fell into his development career by accident when, after law school, though planning not to practice law but interested in international affairs, he accepted an unsolicited job offer from the U.S. Agency for International Development. After a few years in Washington (or Foggy Bottom, as the location of the U.S. foreign policy establishment is known), he was assigned as legal advisor to the USAID mission in Laos and there discovered that the development business suited his interests and inclinations very well. Greene wrote poetry beginning in the 8th grade and continued through college where he studied with a Professor, Henry Rago, who later became editor of Poetry magazine, the leading U.S. poetry journal. However, he wrote few poems after law school as he became absorbed in international development, but turned back to poetry as he neared retirement.

A collection of poems describing the exterior world, such as: Orinocos of the Imagination I''ve never been to the Orinoco and have seen few photos of it, but I feel I know its sinuous lengths, winding between thick jungle walls, flashing silver in the sun, delicate waterfalls threading from cloud-shrouded cliffs, dense foliage adorned with birds of kindergarten colors and jaguars that merge into shadow, the insistent music of bird cry and monkey chatter, dugouts and caimans scoring its sleek waters, those who people its valley gliding nearly naked through twilight forests, dappled by the distant sun. I know these lush landscapes from my dreams.

A collection of poems on aging, such as: I See Myself Becoming Old My closet is full of suits I don''t wear anymore. Nothing I need to wear them for. There are days when I stay in my pajamas till noon. I picture my heirs looking at my wardrobe one day asking "Can you think of anyone who can use these or should we give them to Goodwill?" Or, "Would you like this tie as a remembrance of Dad?" As I read the obits of the recently deceased, which I took to doing a few years ago, I compare their ages to mine. Then there''s the arthritis in my hands and feet. My left foot aches when I walk and I suffered a rupture in a time-worn tendon not long ago. I have more trouble lifting things and getting around. Don''t jump over puddles anymore for fear of the damage I might do coming down. (No more kicking up heels for me.) What will it be next, the incipient cataracts? My hearing isn''t what it used to be. I don''t think I need a hearing aid yet, though my daughter disagrees. Or will it be something unforeseen like that ill-fated tendon? I see myself becoming old, yet it''s as if I were watching it happen to somebody else.

The Broken Guitar by Richard Greene is a collection of poems about war: Memorial Reading the name of a young man who died in war saddens us. Yet more the names of thousands engraved in granite, or marble, their parents'' hopes and dreams interred in stone. All that remains are a few keepsakes, and memories of newborns, toddlers, vulnerable boys, youths becoming men, those now sad memories, and names carved in cold stone. Who wanted those wars? Their leaders of course, but all too often those same young men, and all too often those who mourn for them.

Wade Garrison was tried and acquitted for murder and then shot in the chest in the courtroom by a friend of the man Wade was accused of killing. Going in and out of a coma for days, Wade promised God that if he would let him have more time with his wife Sarah, and their children, he would never pick up a gun, or kill another man as long as he lived.A year has passed since that fateful day, and Wade has kept his promise to both God and Sarah. While he missed the life of a United States Marshal, Wade Garrison was happy with his simple life on his ranch near the small town of Harper, Colorado.All that changed when three men robbed the Harper Bank killing his old friend Sheriff Harry Block. When asked to help track down the three men, recover the money and bring them back for justice, he refused saying, "I don''t do that anymore." Thinking the town and his son would think him a coward, Wade searched for a way out of his promise to God.

In this book, Barrett and Greene present evolving theories of performance management, the practices necessary for a good performance-based government, and the pitfalls that can easily be encountered along the way—andhow to avoid them. As performance management has evolved, it has encompassed many different tools and approaches including measurement, data analysis, evidence-based management, process improvement, research and evaluation. In the past, many of the efforts to improve performance in government have been fragmented, separated into silos and labeled with a variety of different names including performance-based budgeting, performance-informed management, managing for results and so on. Making Government Work: The Promises and Pitfalls of Performance-Informed Management by Katherine Barrett and Rich Greene is loaded with dozens of stories of what practitioners are currently working on—what’s working and what’s not. The benefits are ample, so are the challenges. This book describes both, along with practical steps taken by practitioners to make government work better. Readers will discover that while the authors strive to meet the documentation standards of carefully vetted academic papers, the approach they take is journalistic. Over the last year, Barrett and Greene talked to scores of state and local officials, as well as academics and other national experts to find out how performance management tools and approaches have changed, and what is coming in the near-term future. Performance management has been in a state of evolution for decades now, and so Barrett and Greene have endeavored to capture the state of the world as it is today. By detailing both the challenges and conquests of performance management in Making Government Work: The Promises and Pitfalls of Performance-Informed Management, Barrett and Greene ensure readers will find the kind of balanced information that is helpful to both academics and practitioners—and that can move the field forward.

Spoilers get folks upset—really upset. One thing that follows from this is that if you pick up a book that’s all about spoilers, it may seriously disturb you. So anyone reading this book—or even dipping into it—does so at their peril. Spoilers have a long history, going back to the time when some Greek theater-goer shouted “That’s Oedipus’s mom!” But spoilers didn’t use to be so intensely despised as they are today. The new, fierce hatred of spoilers is associated with the Golden Age of television and the ubiquity of DVR/Netflix/Hulu, and the like. Today, most people have their own personal “horror story” about the time when they were subject to the most unfair, unjust, outrageous, and unforgivable spoiler. A first definition of spoiler might be revealing any information about a work of fiction (in any form, such as a book, TV show, or movie) to someone who hasn’t encountered it. But this isn’t quite good enough. It wouldn’t be a spoiler to say “The next Star Trek movie will include a Vulcan.” Nor would it be a spoiler to say, “The story of Shawshank Redemption comes from a short story by Stephen King.” There has to be something at least a bit unexpected or unpredictable about the information, and it has to be important to the content of the work. And you could perpetrate a spoiler by divulging information about something other than a work of fiction, for example details of a sports game, to someone who has tivoed the game but not yet watched it. Timing and other matters of context may make the difference between a spoiler and a non-spoiler. It could be a spoiler to say “There’s a Vulcan in the next Star Trek movie” if spoken to someone raised in North Korea and knowing absolutely nothing about Star Trek. It can also be a spoiler to say something about a movie or TV show when it’s new, and not a spoiler when it has been around for some years. This raises the distinction between “personal spoilers” and “impersonal spoilers.” Personal spoilers are spoilers for some particular individual, because of their circumstances. You should never give personal spoilers (such as when someone says that they have never seen a particular movie, even though the plot is common knowledge. You can’t tell them the plot). Sometimes facts other than facts about a story can be spoilers, because they allow people to deduce something about the story. To reveal that a certain actor is not taking part in shooting the next episode may allow someone to jump to conclusions about the story. Spoilers need not be specific; they can be very vague. If you told someone there was a big surprise ending to The Sixth Sense or Fight Club, that might spoil these movies for people who haven’t seen them. You can spoil by mentioning things that are common knowledge, if someone has missed out on that knowledge (“Luke and Darth Vader are related”), but you usually can’t be blamed for this. People have some obligation to keep up. This means that in general you can’t be blamed for spoilers about stories that are old. “Both Romeo and Juliet are dead at the end” could be a spoiler for someone, but you can’t be blamed for it. This is a rule that’s often observed: many publications have regulations forbidding the release of some types of spoilers for a precisely fixed time after a movie release. However, some spoilers never expire, either because the plot twist is so vital or the work is so significant. So, if you’re talking to young kids, you probably should never say “Darth Vader is Luke’s father,” “Norman Bates is Mother,” “Dorothy’s trip to Oz was all a dream,” “All the passengers on the Orient Express collaborated in the murder,” “in The Murder of Roger Akroyd, the narrator did it,” “Soylent Green is people,” “To Serve Man is a cookbook,” and finally, what many consider to be the greatest and worst spoiler of them all, “The Planet of the Apes is really Earth.” Some famous “spoilers” are not true spoilers. It’s not going to spoil Citizen Kane for anyone to say “Rosebud is his sled.” This piece of information is not truly significant. It’s more of a McGuffin than a plot twist. A paradox about spoiling is that people often enjoy a work of fiction such as a Sherlock Holmes story over and over again. They remember the outline of the story, and who did the murder, but this doesn’t stop them re-reading. This demonstrates that the spoilage generated by spoilers is less than we might imagine. It’s bad to spoil, but how bad? People do seem to exaggerate the dreadfulness of spoiling, compared with other examples of inconsiderateness or rudeness. Are there occasions when it’s morally required to spoil? Yes, you might want to dissuade someone from watching or reading something you believed might harm them somehow. Also, you might issue a spoiler in order to save the world from a terrorist attack (Yes, this is a philosophy book, so it has to include at least one totally absurd example). A more doubtful case is deliberate spoiling as a protest, as occurred with Basic Instinct. The book ends with three spoiler lists: the Most Outrageous Spoiler “Horror Stories”; the Greatest Spoilers of All Time; and the Greatest Spoilers in Philosophy.

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La scomparsa prematura di James Gandolfini, il mitico Tony Soprano, ripropone l’originaria confusione tra realtà, arte e pensiero. All’inizio era il teatro, per i greci antichi luogo di farsa e tragedia della vita, palcoscenico del pensiero, dei suoi incubi e delle sue utopie. Oggi sono gli effetti speciali e l’estetica assoluta delle serie tv, tra cui I Soprano spicca per la potenza catartica di una mirabile rappresentazione della violenza. Uccido dunque sono. Tra darwinismo sociale da tardo capitalismo consumistico ed eterni istinti dell’animale uomo, questo libro si addentra nella filosofia che ci tiene incollati al video anche per le scene più scabrose. A farci spalancare occhi e mente non è il lato morboso del voyeurismo, ma l’eterna sete del sapere. La sete che vede rappresentate degnamente tutte le sfumature dell’essere umano solo nei migliori prodotti della società dello spettacolo. Dove l’eterna sovrapposizione tra realtà e finzione è solo l’inizio della scienza.

Zombie e vampiri hanno conquistato il centro della cultura pop, come protagonisti di serie tv, fumetti, cartoni, videogames e film. Questo libro porta le teorie di filosofi come Socrate e Cartesio nei territori dei non morti, per interrogare queste oscure creature su questioni sociali e filosofiche. Vampiri e vegetariani, in fondo, non condividono la stessa visione del mondo? E gli zombie possono aiutarci a comprendere l''essenzialità della riforma sanitaria negli Stati Uniti? E ancora: cosa potrebbe significare il famoso detto "mente sana in corpo sano" per vampiri e zombie? Le risposte a queste e altre domande attendono i lettori abbastanza intrepidi da lasciarsi coinvolgere in questa filosofica e divertente scorreria nel mondo dei non morti.

This collection of essays by philosophers who are also fans does a deep probe of the Sopranos, analyzing the adventures and personalities of Tony, Carmella, Livia, and the rest of television''s most irresistible mafia family for their metaphysical, epistemological, value theory, eastern philosophical, and contemporary postmodern possibilities. No prior philosophical qualificationsor mob connections are required to enjoy these musings, which are presented with the same vibrancy and wit that have made the show such a hit.

There have been a number of Graham Greene biographies, but none has captured his voice, his loves, hates, family and friends–intimate and writerly–or his deep understanding of the world, like this astonishing collection of letters. Graham Greene is one of the few modern novelists who can be called great. In the course of his long and eventful life (1904—1991), he wrote tens of thousands of letters to family, friends, writers, publishers and others involved in his various interests and causes. A Life in Letters presents a fresh and engrossing account of his life, career and mind in his own words. Meticulously chosen and engagingly annotated, this selection of letters–many of them seen here for the first time–gives an entirely new perspective on a life that combined literary achievement, political action, espionage, exotic travel and romantic entanglement. In several letters, the individuals, events or places described provide the inspiration for characters, episodes or locations found in his later fiction. The correspondence describes his travels in Mexico, Africa, Malaya, Vietnam, Haiti, Cuba, Sierra Leone, Liberia and other trouble spots, where he observed the struggles of victims and victors with a compassionate and truthful eye. The volume includes a vast number of unpublished letters to authors Evelyn Waugh, Auberon Waugh, Anthony Powell, Edith Sitwell, R.K. Narayan and Muriel Spark, and to other more notorious individuals such as the double-agent Kim Philby. Some of these letters dispute previous assessments of his character, such as his alleged anti-Semitism or obscenity, and he emerges as a man of deep integrity, decency and courage. Others reveal the agonies of his romantic life, especially his relations with his wife, Vivien Greene, and with one of his mistresses, Catherine Walston. The letters can be poignant, despairing, amorous, furious or amusing, but the sheer range of experience contained in them will astound everyone who reads this book.

Don''t turn around - there''s probably one behind you right now. Vampires and zombies are just everywhere. Bram Stoker had no idea what he was starting when he published his vampire novel Dracula in 1897, incidentally digging up and re-animating the word ''''undead. Whether it''s Twilight, Let the Right One In, True Blood, or the comic book series Thirty Days of Night, vampire stories seem to experience an eternal cycle of death and resurrection, growing more potent, if not more rosy-cheeked, with each successive manifestation. While vampires are suave, sexy, sophisticated, stay up all night, generally have good hair, and often deliver witty one-liners, zombies are just the opposite. Zombies have poor complexions, missing body parts, few social graces, and are conversationally challenged. Yet public fascination with zombies keeps proliferating, along with the popularity of vampires. There are more zombie books, zombie movies, and zombie games than ever before. About the only things vampires and zombies share is that they want to bite us and we are at risk of becoming like them. However, they both confront us with moral and metaphysical issues of life and death. In Zombies, Vampires, and Philosophy, an expanded edition of The Undead and Philosophy, twenty-two of our leading thinkers teach us the lessons we can absorb from the various forms of Undeath. ''''this is a book worth buying just for the final chapter, which gives us the sensational and hitherto suppressed correspondence of tienne Lavec and Paulie Dori Williams. At long last we have a vital perspective that has been sadly lacking; authentic vampire reactions to the way vampires are depicted in popular culture.

Befriended by a slave and the captain of a riverboat, a young runaway named Joseph Greene found adventure on the river and the love of a your Mary McAlexander. The Civil War would not only test their love for one another but the faith of the McAlexander, Chrisman, and Patterson families as each endured the war''s death and destruction.

The films of Quentin Tarantino are ripe for philosophical speculation, raising compelling questions about justice and ethics, violence and aggression, the nature of causality, and the flow of time. In this witty collection of articles, no subject is too taboo for the writers to tackle. From an aesthetic meditation on the use of spraying blood in Kill Bill to the conundrum of translation and reference in Vincent and Jules'' discussion about French Big Macs in Pulp Fiction, Tarantino and Philosophy shies away from nothing. Is The Bride a heroic figure, even though she’s motivated solely by revenge? How is Tarantino able to create a coherent story when he jumps between past, future, and present? The philosophers in this book take on those questions and more in essays as provocative as the films themselves.

A stunning, elaborately illustrated biography of the man who had an immeasurable impact upon American culture. This timely biography, told through the captivating and vivid words of those who knew, and studied Walt Disney, provides the most revelatory protrait to date of the man who has become an icon of American culture. More than 70 men and women were interviewed, including friends, employees, and historians, adversaries and rivals, and, most especially, family members, who add a special "private" contest to a very public work.

Follows the life of Walt Disney from his boyhood on a Missouri farm through his struggles as a young animator to his building of a motion picture and amusement park empire.

The first comprehensive guide to Holst''s orchestral suite considers the music in detail and places the work in its historical context.

Richard Greene''s poetry examines a wide range of sujects: politics, spirituality, marriage, fatherhood, landscapes, the environment, Newfoundland culture, war, mortality, and the afterlife. His poetry has been widely admired for its unusual combination of technical competence and visionary intensity. One of the main conce s of this volume is the political and religious implications of a profound sense of place.

This book is written to show you exactly how to harness the five steps to deal with the unexpected, and not just survive, but thrive. Through story-driven teaching, each chapter has a unique perspective from an inspiring individual sharing a powerful principle that will help you win. Read stories from #1 Best-Selling Author Matt Brauning along with 4-time Olympian Ruben Gonzalez plus stories from 13 inspirational authors. Co-authors featured in Driven To Courage include: 3-Time National Paralympic Team Member Brandon Lyons, Wealth Coach Jennifer Jost, Business Optimization Expert Andie Monet, NLP Trainer Aubrie Pohl, 7-Time Ironman® Rich Greene, Creative Abundance Coach Carmen Yolanda Mendoza, True Joy Coach Linda Shively, Confidence Expert Michelle Mehta, plus Podcaster Christine Blosdale, Consultant Dawn Stramer, Speaker Jesse Mogle, Coach Kari Anderson, and TikTik Influencer Melissa Hughes.