Kristi Wilson

This self-help book is a work in which Kristi seeks to employ her own personal experiences to aid a person in fulfilling wishes and desires. The work begins by explaining that God is the force that drives her. Kristi goes on to motivate the reader to see that within themselves, God implants the knowledge, vision, and ability to conquer sin through forgiveness and hatred through love. Kristi's hope is that the person reading, Driving Destiny, will be able to begin their journey to their destiny. Kristi communicates to her readers that a person must understand that it is not his or her own will that will prevail but God's will. Once the reader realizes the true entity that is in control, then the road becomes easier and goals are easier to accomplish. Additionally, Kristi utilizes informative language, biblical quotes, and personal experience, which may educate a reader in the process of reaching their goals in life.

Driving Destiny

Antonio Traverso

The chapters in this book show the important role that political documentary cinema has played in Latin America since the 1950s. Political documentary cinema in Latin America has a long history of tracing social injustice and suffering, depicting political unrest, intervening in periods of crisis and upheaval, and reflecting upon questions about ideology, cultural identity, genocide and traumatic memory. This collection bears witness to the region's film culture's diversity, discussing documentaries about workers' strikes, riots, and military coups against elected governments; crime, poverty, homelessness, prostitution, children's work, and violence against women; urban development, progress, (under)development, capitalism, and neoliberalism; exile, diaspora and border cultures; trauma and (post)memory. The chapters focus on documentaries made in Argentina, Brazil, Chile, Cuba, Mexico, and Venezuela, as well as on the work of Latino and diasporic Latin American political documentarians. The contributors to the anthology reflect the cultural and linguistic diversity of current Latin American film scholarship, with some writing in Spanish and Portuguese from Argentina and Brazil (with their original works especially translated), and others writing in English from Australia, Europe, and the USA. This book was originally published as a special issue of Social Identities.

Kristi Wilson

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