Bücher von Veronica Rodriguez

"What did you say?" Ayaan growls with his dangerously low voice scaring the shit out of the poor girl whose heart is trembling in fear but also excitement at the thought of annoying her husband. "You heard it but still if you want to hear it again then I repeat" she holds her pyjamas up "You are a jerk!! A freaking jerk!!" She yells and quickly takes a u-turn to run for her dear life while holding her pyjamas up so she does not trip and fall as she is laughing out loudly feeling amused and happy after annoying his arrogant yet sweet Husband who is shooting dagger through her soul but he couldn't hide the fact that his heart is smiling looking at his wife who is being all scared yet is a brat.

First of all I want to say that writing this book wasn't easy at all, but I'm thankful to life, to everyone who believed in me and mostly to God, because with him we're everything and without him nothing would be done. I am a married woman and I have 3 children, 2 girls and one boy. I'm thankful that they're so good to me, they've been very supportive of me and I can always count on them as if they were adults. They understand a lot of things. I'd also like to tell you that I've been through depression and it's very hard to nd one's true feelings without the help of God. I've always been fully dedicated to my family, as a mother and as a housewife, it hasn't been easy because when I've been sick I haven't always been myself, but if you have faith and love in your heart everything is possible no matter your age. I'm 40 years old and my life's been very blessed in my life, my mariage and my family. I thank Angelica, Yajaira and Edward for being my children and my husband Elpidio, without them and God none of this would be possible. My story has been very similar to tohers, but I've fought agains everything that has happened to me to be able to get the rewards God has given me. I'd just like to tell you to fight. I can do all things through Christ, who strengthens me. Blessings for everyone who knows me and for everyone who will get to know me through my first book.

Primero que nada les cuento que no fue nada fácil hacer este libro, pero que doy gracias la vida, a todas esas personas que creyeron en mí, y sobre todo a Dios por que con Él todo somos, y sin Él nada se llevaría a cabo. Soy una mujer casada y tengo 3 hijos, 2 hijas y un hombre. Doy gracias por que son muy buenos conmigo, han sido de mucho apoyo, pues siempre cuento con ellos como si fueran adultos. Ellos comprenden muchas cosas. También, les cuento que he pasado por depresión y es muy difícil sin la ayuda de Dios poder encontrar tus verdaderos sentimientos. Siempre me he dedicado a mi familia por completo, como madre y ama de casa, no ha sido fácil porque cuando he estado enferma no siempre he sido la misma, pero si tienes fe en tu corazón y sobre todo amor todo es posible, sin importar la edad. Yo tengo 40 años y he sido muy bendecida con la vida, con mi esposo y mi familia, doy gracias a Angelina, Yajaira y Edward por ser mis hijos y a mi esposo Elpidio, por que sin ellos nada sería posible y sin Dios menos. Mi historia ha sido muy parecida a las demás, pero he luchado contra todo lo que me ha pasado para poder tener las recompensas que Dios me ha dado. Solo te digo: lucha con tu mente y tu corazón y verás que todo es posible . Todo lo puedo en Cristo que me fortalece. Bendiciones para todas esas personas que me conocen y para las que van a poder conocerme a través de mi primer libro.

With a Foreword by Dan Rebellato, this book offers up a detailed exploration of Scottish playwright David Greig's work with particular attention to globalization, ethics, and the spectator. It makes the argument that Greig's theatre works by undoing, cracking, or breaking apart myriad elements to reveal the holed, porous nature of all things. Starting with a discussion of Greig's engagement with shamanism and arguing for holed theatre as a response to globalization, for Greig's works' politics of aesthethics, and for the holed spectator as part of an affective ecology of transfers, this book discusses some of Greig's most representative political theatre from Europe (1994) to The Events (2013), concluding with an exploration of Greig's theatre's world-forming quality.