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The Healing Process Group

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The River

At The River District, a sustainable Master Plan creates a community that integrates the primary components of urban life - a connected network of homes, retail/restaurants, offices, schools, civic centers, and public spaces - with the allure of parks, trails, forests, river access and wide open spaces inherent to nature. This integrated master plan creates a place where people, commerce, and the natural environment collide to create the highest quality of life.

The River

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Looked for this restaurant in a friend's recommendation. So glad we did. Crab cake Benedicts were fabulous. Staff was attentive, but not overbearing. Sit by window to view riverfront. Beignets were as good as those I remember from New Orleans.Shelley K., Trip Advisor

Deeply researched and eloquent. Cummings skillfully unfolds the interrelated stories of a much abused river, an ambitious city, and the people whose lives shaped both the river and the city. At times tragic but ultimately hopeful, it offers a powerful cautionary tale for anyone who cares about the future of our urban waterways.

In his film, Lorentz wanted to show that only through the building of dams could the country hope to control the Mississippi River and put it to use in helping the American people, instead of allowing its flood waters to wreck havoc, destroying crops and property. While he attempted to show the ways in which the rivers had been misused, the film also stands as a paean to the American natural landscape and the rich history with which it is imbued.

Lorentz evoked the magnificence of the country's natural landscape and resources and the rich history that stands behind the names and places. The listing of names and their repetition throughout the film gives the story an epic quality that compliments the sweeping visuals that accompany the narration. Lorentz' words recall the free-verse poetry of Walt Whitman who also used the style to evoke the sweeping grandeur of America, a country whose physical beauty and rawness was a perfect match for the democratic principles upon which it was founded. In particular Lorentz narration alludes to Whitman's poem Starting from Paumanok from Leaves of Grass in which he lists states, lakes, rivers and mountains in his praise of America.Land of the Eastern Chesapeake! Land of the Delaware!Land of Ontario, Erie, Huron, Michigan!Land of the Old Thirteen! Massachusetts land! land of Vermontand Connecticut!Land of ocean shores! Land of sierras and peaks!

Lorentz suggested that misuse of the river and the river valley bore the responsibility of the horrible financial situation that many Americans found themselves in during the Depression. According to Lorentz, over-cultivation of the land and the drive to urbanize striped it, and left it unfit for farming, and economically crippled many of the poor people that depended on it for their livelihood. Quoting Roosevelt's famous phrase "ill-housed, ill-clothed, ill-fed", Lorentz lamented the fact that hundreds of Americans had been reduced to poverty in the "greatest river valley in the world."

This technique gave the film a sense of balance and harmony. It was especially dynamic in the scene which traces the river's development from a raindrop to a swirling current. Here sound and visuals seemed to be one and function together to express a single idea.

This, however proved impractical, and his plan for the film changed as he did more research into dams and the work of the TVA. As he came to understand, in order to control large rivers, it was necessary to control the smaller rivers and tributaries that feed into them.

The opening sequence from The River is particularly important because of its relationship to the film as a whole. It incorporates Lorentz' spare and poetic narration and Thomson's beautiful score. Special attention should be paid to the way in which the visuals match the narrative, following water as it falls from the clouds to earth and down the smaller rivers into the Mississippi, all reflecting Lorentz' belief in the majesty of nature and the power of names.

they should have shut down the island then, but these island bodies were only a small percentage of the bodies of summer, most of them stabbed, shot, strangled, stomped, starved. authorities half-heartedly posted ambiguous warning flyers around the island as swimmers, couples strolling on the river walk paths, and riverside picnickers went missing without explanation.

as she turned to move along with her boat, feeling the quiet edge of sanity, the elevator music stopped, and she heard the thumping of a microphone being tested. there he was, slick, flushed, wide and smiling. he stood on a little platform with his back to the river, his guests and their champagne flutes all turned toward him. the media elbowed each other half-heartedly, trying to manifest an interesting shot.

the wave receded as fast as it had come. guests sprawled in all manner of positions, river water dripping down their supine bodies, some tossed through windows of the house, a few in the pear tree down the yard.

she felt the buoys on the side of her boat gently bump up against the river wall and realized that her jaw had dropped and her hands fallen from the wheel. the water now was utterly calm in every direction. 041b061a72


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