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In TROGONS, Robert Begay, Navajo war veteran and undercover government agent, reluctantly joins Special Agents investigating drug deaths in Phoenix. A huge cat claw is carved into the backs of the Native and Hispanic victims, hinting at a sinister plot involving very important people. Kidnapped and taken to the Barranca del Cobre in Mexico, Robert finds the answers to what no one has told him. SONS OF THUNDER finds Robert and his brother Tommy drawn into organized crime threatening Native artisans on the Reservation. A mob assassin is ordered to make examples of the Begays. Instead, the Begays relentlessly track the big-city mobsters, while Robert battles his Post-Traumatic Shock, too tired of death to keep the voices quiet. Tom Begay learns of his heritage in BORN-FOR-WATER, when Robert fights vicious criminals returned to the Reservation for revenge. Desperate to save his wife and unborn son, Robert confronts the men. An old friend returns and beckons Tom to join him in the search for the killers. The chase takes them to the Mexican border where Tom finds his inner form, the Twin Son of Changing Woman, Born-for-Water, brother to Monster-Slayer.
Delaney's hero is a West Indian slave who travels throughout the South advocating revolution, and later becomes the general of a black insurrectory fore in Cuba. Blake hopes that, with rebellion in Cuba and the expulsion of all Americans, Cuba's model as a self-governed black state will ultimately precipitate the downfall of slavery in the United States. Focusing on the political and social issues of the 1850s – slavery as an institution, Cuba as the prime interest of Southern expansionists, the practicality of militant slave revolution, and the possibilities of collective action – Blake is one of the most revealing novels of its period.
Slaves to Fashion is a pioneering cultural history of the black dandy, from his emergence in Enlightenment England to his contemporary incarnations in the cosmopolitan art worlds of London and New York. It is populated by sartorial impresarios such as Julius Soubise, a freed slave who sometimes wore diamond-buckled, red-heeled shoes as he circulated through the social scene of eighteenth-century London, and Yinka Shonibare, a prominent Afro-British artist who not only styles himself as a fop but also creates ironic commentaries on black dandyism in his work. Interpreting performances and representations of black dandyism in particular cultural settings and literary and visual texts, Monica L. Miller emphasizes the importance of sartorial style to black identity formation in the Atlantic diaspora. Dandyism was initially imposed on black men in eighteenth-century England, as the Atlantic slave trade and an emerging culture of conspicuous consumption generated a vogue in dandified black servants. “Luxury slaves” tweaked and reworked their uniforms, and were soon known for their sartorial novelty and sometimes flamboyant personalities. Tracing the history of the black dandy forward to contemporary celebrity incarnations such as Andre 3000 and Sean Combs, Miller explains how black people became arbiters of style and how they have historically used the dandy’s signature tools—clothing, gesture, and wit—to break down limiting identity markers and propose new ways of fashioning political and social possibility in the black Atlantic world. With an aplomb worthy of her iconographic subject, she considers the black dandy in relation to nineteenth-century American literature and drama, W. E. B. Du Bois’s reflections on black masculinity and cultural nationalism, the modernist aesthetics of the Harlem Renaissance, and representations of black cosmopolitanism in contemporary visual art.
Published in collaboration with the Smithsonian National Museum of African American History and Culture, discover over fifty remarkable African American women whose unique skills and contributions paved the way for the next generation of young people. Perfect for fans of Rad Women Worldwide, Women in Science, and Girls Think of Everything. Fearless. Bold. Game changers. Harriet Tubman guided the way. Rosa Parks sat for equality. Aretha Franklin sang from the soul. Serena Williams bested the competition. Michelle Obama transformed the White House. Black women everywhere have changed the world! Published in partnership with curators from the Smithsonian National Museum of African American History and Culture, this illustrated biography compilation captures the iconic moments of fifty African American women whose heroism and bravery rewrote the American story for the better. "A beautifully illustrated testament to the continuing excellence and legacy of Africane American women." -Kirkus Reviews
Star of Food Network's Girl Meets Farm, and winner of the Judges' Choice IACP Cookbook Award, Molly Yeh explores home and family and celebrates her Jewish and Chinese heritage and her current Midwestern farm life in this cookbook featuring more than 120 recipes. In 2013, food blogger and classical musician Molly Yeh left Brooklyn to live on a farm on the North Dakota-Minnesota border, where her fiancé was a fifth-generation Norwegian-American sugar beet farmer. Like her award-winning blog My Name is Yeh, Molly on the Range chronicles her life through photos, new recipes, and hilarious stories from life in the city and on the farm. Molly’s story begins in the suburbs of Chicago in the 90s, when things like Lunchables and Dunkaroos were the objects of her affection; continues into her New York years, when Sunday mornings meant hangovers and bagels; and ends in her beloved new home, where she’s currently trying to master the art of the hotdish. Celebrating Molly's Jewish/Chinese background with recipes for Asian Scotch Eggs and Scallion Pancake Challah Bread and her new hometown Scandinavian recipes for Cardamom Vanilla Cake and Marzipan Mandel Bread, Molly on the Range will delight everyone, from longtime readers to those discovering her glorious writing and recipes for the first time. Molly Yeh can now be seen starring in Girl Meets Farm on Food Network, where she explores her Jewish and Chinese heritage and shares recipes developed on her Midwest farm.
A Sourcebook on African-American Performance is the first volume to consider African-American performance between and beyond the Black Arts Movement of the 1960s and the New Black Renaissance of the 1990s. As with all titles in the Worlds of Performance series, the Sourcebook consists of classic texts as well as newly commissioned pieces by notable scholars, writers and performers. It includes the plays 'Sally's Rape' by Robbie McCauley and 'The American Play' by Suzan-Lori Parks, and comes complete with a substantial, historical introduction by Annemarie Bean. Articles, essays, manifestos and interviews included cover topics such as: * theatre on the professional, revolutionary and college stages * concert dance * community activism * step shows * performance art. Contributors include Annemarie Bean, Ed Bullins, Barbara Lewis, John O'Neal, Glenda Dickersun, James V. Hatch, Warren Budine Jr. and Eugene Nesmith.
Growing up Chinese in Virginia in the Fifties, Evelina Chao's sense of historical or cultural context was colored by the images contained in her grandfather Yeh-Yeh's letters and news of his life as an eminent poet, philosopher, and theologian in Beijing. Her geologist father and biologist mother suffered a kind of cultural dyslexia in the American South, having fled Beijing after the Maoist Revolution in 1949. The young Evelina, foreign and isolated, believed that in China she would find the meaning of her life. And then she found music. The rigors of training to become a professional classical musician seduced her into thinking she no longer required Yeh-Yeh's benediction, that her Chinese heritage was secondary. When Yeh-Yeh died at 92, she realized that her mythical notions of China had died with him. All that reminded her were her uncles and aunts who still lived in the family house in Beijing. Accompanied by her mother, acting as her interpreter and all-around passport, she traveled to Beijing when China was undergoing rapid transformation following the Cultural Revolution in the early 1980s, two years before the Tiananmen uprising. Every trace of old China was being expunged, the ancient neighborhoods plowed under. Yeh-Yeh's House is a voyage of self-discovery and mother-daughter understanding set against the backdrop of a China that no longer exists.
Presents work from within the developing framework of cultural psychology. Three sections explore the meanings of social categories, the interaction between written and visual representations and the conscious & unconscious meanings of cultural forms