Ncm 73066100
There have been a lot of books by Navy SEALs in the past few years, some wrote war memoirs, others wrote about training soldiers, while others wrote about business lessons. But this book is unique because it focuses solely on life lessons and how readers can improve themselves and the world around them. I bought this book after watching Admiral McRaven's commencement speech ( if you haven't watched it, here's the link) because I found his words inspiring. The book expands on McRaven's speech and provides situations where McRaven learned these life lessons and how he applied this knowledge throughout his career. At 130 pages, the book is quite short and can be read in under three hours. I highly recommend it if you're looking for some inspiration or need guidance in life. Rating: 4/5 stars If you're interested in reading the book, click here or on the image below!
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His father answers confused "people don't die with a fever of one hundred and two". The dialogue goes on, but it turns out that some boys in Schatz French class had told him that you can't live with a temperature of forty- four degrees, and he had one hundred and two. Schatz had prepared him self for the death all day, but little did he know that they use a different thermometer than the boys in his class. On Schatz thermometer ninety- eight is normal, while thirty- seven is normal on theirs. In this story Hemingway uses long sentences for descriptions, and short sentences in dialogues. He also relies his on realistic dialogues as a method of characterization. Hemingway's writing style is simple and direct, for instance he writes dialogues like the characters actually would have talked. This story is a good example of Hemingway's writing style. He is personal, direct and he doesn't exaggerate for effect. He writes as it is, and as the situation most likely would have been in real life.
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But it's a highly original, piercingly beautiful work, a book you'll want to savour. We first meet the narrator when she's working as a tour guide, showing rich foreigners around the art galleries of Buenos Aires. She is a mother "hovering at the midpoint of life" whose dysfunctional family descends from a line of Argentinian aristocrats. She's brittle ("I simply wasn't cut out for life"), self-aware (she refers to herself as "a bourgeois art girl"), and when faced with a crisis, she runs straight for a museum or gallery. Her identity only emerges in flashes and fragments. In between, we get miniature portraits of El Greco, Toulouse-Lautrec, Henri Rousseau and, most memorably, Gustave Courbet, the 19th-century French painter. In front of one of his seascapes, she reflects: "Every time I look at it something inside me becomes compressed, a sensation between my chest and my throat, like a small bite being taken out of me. " A novel about the experience of perception could easily have ended up wishy-washy, but Gainza keeps the book rooted in human experience: fear of pain, of disillusionment, of parenthood, of flying in a plane and dying.
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