As a top coach, Stockton has taught a long list of pro players-including Annika Sorenstam, Yani Tseng (winner of four LPGA tournaments), Adam Scott (Texas Open champion), Hunter Mahan (Phoenix Open champion), and Morgan Pressel (World Ladies Championship of Japan winner)-the putting strategies that finessed their game.Stockton's breakthrough concept is that every player has their own Signature Stroke, which is unconscious. Good putting comes from the mind, Stockton says, not from a series of stiff mechanical positions. With visualization, the right frame of mind, an efficient pre-putt routine, and connection to the individual internal stroke signature, any player can make far more putts. Putting has always been taught as an offshoot to the full swing, when in reality it is far different- almost a different game. "Unconscious Putting" will help players get out of the rigid, mechanical, overthinking trap.In "Unconscious Putting," Stockton shows how players at every handicap level-from pros to weekend golfers-can putt effortlessly and with confidence by integrating a new mental approach with a few simple physical routines that will keep them locked on target. Readers will also gain invaluable advice on reading greens and equipment. Illustrated throughout and filled with anecdotes about how Stockton's lessons have helped today's leading players, "Unconscious Putting" is a must-have golf book and a category classic-in-the-making.

    In a series of elegant, nonchronological scenes spanning the years from 1946 to 2015, the play hopscotches through Mary Page Marlowe’s quiet existence as an accountant from Ohio—complicating notions of what it means to lead a “simple life.”

    He or she must have a working knowledge of how the various technical aspects of the theater work (scenery, props, costumes, lights and sound), be part director, part playwright, part designer and part producer, and be prepared to act as confidant, counselor and confessor to everyone else in the company.This book addresses all of these considerations in detail and offers the reader-professional or amateur, veteran or beginner-helpful guidance and practical advice, supported by many forms and examples to illustrate the points covered in the text.The three phrases of mounting and performing a show are covered. Part I takes the reader through the pre-production phase-research, the script, planning and organization, and auditions. Part II covers the rehearsal process-rehearsal rules, blocking, cues, prompting, information distribution, technical and dress rehearsals. Part III discusses the performance phase-calling the show, maintaining the director's work, working with understudies and replacements, and more.Part IV provides insights into the organizational structure or some theaters and aspects of human behavior in those organizations. Many stage managers of long-running commercial productions believe that-once the show is up and running-only ten percent of their work is related to everything covered in Parts I, II and III. The other ninety percent is associated with issues in Part IV; i.e. managing human behavior and maintaining working relationships.

    The game setting? A subdivision with identical houses. The goal? Smash through an army of zombies to escape the neighborhood for good. But as the line blurs between virtual and reality, both parents and players realize that fear has a life of its own. "Playing like a nifty episode of 'The Twilight Zone', the story builds to an affectingly grues

    In the earlier play Ostrovsky had adopted a satiric tone that proved him a worthy disciple of Gogol, the great founder of Russian realism. Not one lovable character appears in that gloomy picture of merchant life in Moscow; even the old mother repels us by her stupidity more than she attracts us by her kindliness. No ray of light penetrates the "realm of darkness" -- to borrow a famous phrase from a Russian critic -- conjured up before us by the young dramatist. In Poverty Is No Crime we see the other side of the medal. Ostrovsky had now been affected by the Slavophile school of writers and thinkers, who found in the traditions of Russian society treasures of kindliness and love that they contrasted with the superficial glitter of Western civilization. Life in Russia is varied as elsewhere, and Ostrovsky could change his tone without doing violence to realistic truth. The tradesmen had not wholly lost the patriarchal charm of their peasant fathers. A poor apprentice is the hero of Poverty Is No Crime, and a wealthy manufacturer the villain of the piece. Good-heartedness is the touchstone by which Ostrovsky tries character, and this may be hidden beneath even a drunken and degraded exterior. The scapegrace, Lyubim Tortsov, has a sound Russian soul, and at the end of the play rouses his hard, grasping brother, who has been infatuated by a passion for aping foreign fashions, to his native Russian worth. Alexander Ostrovsky (1823-1886) was an early Russian Realist whose work led to the founding of the Moscow Arts Theatre and to the career of Stanislavsky. He has been acknowledged to be the greatest of the Russian dramatists.

     In remote Pakistan, Nick Bright awaits his fate. A successful financial trader, Nick is kidnapped by an Islamic militant group, but with no one negotiating his release, he agrees to an unusual plan. He will earn his own ransom by helping his captors manipulate and master the world commodities and currency markets. "[A] tense, provocative thriller about the unholy nexus of international terrorism and big bucks...."-Seattle Times "Ahktar again turns hypersensitive subjects into thought-provoking and thoughtful drama"-Newsday "The prime theme is pulsing and alive: when human lives become just one more commodity to be traded, blood eventually flows in the streets"-Financial Times "Whip-smart and twisty"-Time Out New York "The Invisible Hand offers genuine insight into the future of the West" (Village Voice).

    Apart from Richards, 'all of us were eighteen years old, though Botham seemed to have lived a bit longer - or at least more vigorously - than the rest.'In this irresistible memoir of a life lived in cricket, Vic Marks returns to the heady days when Richards and Botham were young men yet to unleash their talents on the world stage while he and Roebuck looked on in awe. After the high-octane dramas of Somerset, playing for England was almost an anti-climax for Marks, who became an unlikely all-rounder in the mercurial side of the 1980s. Moving from the dressing room to the press box, with trenchant observations about the modern game along the way, Original Spin is a charmingly wry, shrewdly observed account of a golden age in cricket.

    The eclectic band of citizens that make up this town are portrayed by only two performers, making this satire on life in rural America even more delightful as they depict all of the inhabitants of Tuna -- men, women, children and animals.

    Decades later, in What the Constitution Means to Me, she traces the effect that the Constitution has had on four generations of women in her family, deftly examining how the United States' founding principles are inextricably linked with our personal lives.

     A celebration of one couple's decision to dig deeper roots in one of the happiest places on earth. In her best work to date, Nadine Hays Pisani shares what it's like to follow her dream of starting a new business on a strict budget in Costa Rica. Along the way, she shares the ups and downs of renting, buying, and building her new home in this country known for red tape, taking its time, and the Pura Vida lifestyle. She struggles to live alongside construction crews, invading critters, and a delusional husband who insists everything will work out fine. Nadine introduces a variety of zany characters, makes new friends, and wrestles with unending challenges all while celebrating this beautiful country. This is a stand-alone story, so if you are new to the Happier Than A Billionaire series, it's fine to start right here. But be warned, your friends will wonder why you are wearing a silly grin for the weeks that follow.

    The Wright Brothers is an historical narrative that draws on extensive archival materials, personal journals, and public records to tell the story of the Wright brothers as men of incredible character and determination along the road towards their significant contributions to aviation history. The summary parallels the structure of the book which is divided into three parts. The first part explores the period of the boys’ childhood through their work on flight testing various models of gliders. The second part picks up with the addition of the engine to the Wright planes and traces the brother’s work through the early stages of powered flight, roughly 1903 to 1908. Part three follows the brothers, now globally famous, through the years when they captured the most attention for their accomplishments. A central aspect of this historical account is the development of Orville and Wilbur Wright as individuals who showed fierce determination in the face of relentless setbacks. It also sheds light on their private nature and their deep bond as brothers. McCullough is a two time winner of the Pulitzer Prize for other historical works, Truman and John Adams. He also won the National Book Award twice and is a recipient of the Presidential Medal of Freedom. His educational background includes a degree in English Literature from Yale University. He is also a well-known narrator, as well as previous host of American Experience. Read more....

    This tell-all story will put you on the front line of the reality of street paramedicine. From gruesome and violent encounters to making split-second decisions which may have cost a life, experience the emotional struggle our responders have to deal with on a daily basis. Through the highs and lows of his career, ten-year Paramedic David Stone doesn't hold back as he tells of the circumstances which haunted him and eventually drove him out of the career... and why it was all worth it in the end. Ride front seat with this thrill-packed memoir encompassing over a decade of true stories from the medic who experienced it.

    In this fun, irrepressible collection, author Michael Stahl has delved into the world of the man who was instrumental in shaping Australia's media landscape.For 30 years, Kerry Packer controlled television’s perennial ratings leader Channel Nine and up to half of the nation’s magazines. So much of what Australians watched, read and believed came through the prism of this gigantic man.Beneath all the billionaire clutter, though, Packer had plenty in common with the man in the street: a cheeky humour, a competitive drive, a deep love for his kids and a passion for sports and television. In business, Packer would fight to the last dollar in a deal. Yet the same man would take his private jet to Las Vegas and lose $20 million in a week – then leave a $1 million tip. He could verbally dissect a hapless executive in front of his peers, yet no less often, would step in silently and invisibly when hardship or tragedy befell a loyal staff member or their family.This book is a collection of stories on the Big Fella, gathered from people who knew him, from those who documented him, and from the folklore that inevitably grew up around him.Michael Stahl is a journalist who during the 1980s worked at Packer’s ACP headquarters in Park Street, Sydney, where his career highlights included riding in the lift with the chairman. Stahl was named Journalist of the Year in 2011 by Publishers Australia and is currently features editor of Qantas The Australian Way and contributing editor to Wheels magazine.

    Since exploding onto our screens, Ferne has become one of TOWIE’s standout cast members and is widely regarded for her style and inimitable personality. Renowned for her straight talking attitude and unbridled wit, Ferne is a regular on TV and chat shows. She is currently working on This Morning as a showbiz reporter and her exclusive column in Star Magazine is the longest running celebrity column to date. Before Fern found fame, she was one of London's top hair stylists & colourist, which provided major grounding for her passion and talent for fashion and beauty.

    So why aren’t we? The answer is generally pretty simple: What we say we want and what we do are two very different things. We say we want to be happy, but we make choices that bring us pain. We say we want our lives to be different, but we don’t do anything different. We talk a good game, but we don’t live it. This quick read summarizes some of the self-improvement strategies. We hope you are able to be honest with yourself and see the value in simply “saying it like it is.” When we take the courageous path and hold ourselves—and each other—accountable, we open the door to joy.So, take a deep breath and dive in!