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“An eloquent argument for speaking even the most difficult truths.” —New York Times Book Review Paul Moore’s vocation as an Episcopal priest took him— with his wife, Jenny, and their family of nine children—from robber-baron wealth to work among the urban poor, leadership in the civil rights and peace movements, and two decades as the bishop of New York. The Bishop’s Daughter is his daughter’s story of that complex, visionary man: a chronicle of her turbulent relationship with a father who struggled privately with his sexuality while she openly explored hers and a searching account of the consequences of sexual secrets.
Gloria Seaman Allen applies her formidable research and narrative skills to the fledgling District of Columbia, bringing to light heretofore unknown details and full-color images for nearly 130 samplers and pictorial embroideries stitched in the first years of the nation's capital. Columbia's Daughters examines the political, economic, and social dynamics of Alexandria, Georgetown and Washington City, the three urban centers that merged to create the District of Columbia as the nation entered the nineteenth century. Here are the lives and little-known schools of needlework teachers and students who witnessed the emergence of a new federal identity in a turbulent time--and left embroidered records of what they saw.
Societal turbulence, state collapse, religious and ethnic conflict, poverty, hunger, and social exclusion all underlie children's involvement in armed conflict. Drawing from empirical studies in eleven conflict-ridden countries, including Pakistan, Sri Lanka, Thailand, Colombia, Uganda, Palestine, Somalia, Liberia, Sierra Leone, Sudan, and South Sudan, Children Affected by Armed Conflict crosses cultures and contexts to capture a range of perspectives on the realities of armed conflict and its aftermath for children. Children Affected by Armed Conflict upends traditional views by emphasizing the experience of girls as well as boys, the unique social and contextual backgrounds of war-affected children, and the resilience and agency such children often display. Including children who are victims of, participants in, and witnesses to armed conflict in their analyses, the contributors to this volume highlight innovative methodologies that directly involve war-affected children in the research process. This validates the perspectives of children and ensures more effective outcomes in postwar reintegration and recovery. Deficits-based models do not account for the realities many war-affected children face. The alternative approaches presented in this edited collection—which acknowledge the realities of both trauma and resilience—aim to generate more effective policies and intervention strategies in the face of a growing global public health crisis.
In The Scars We Carve: Bodies and Wounds in Civil War Print Culture, Allison M. Johnson considers the ubiquitous images of bodies—white and black, male and female, soldier and civilian—that appear throughout newspapers, lithographs, poems, and other texts circulated during and in the decades immediately following the Civil War. Rather than dwelling on the work of well-known authors, The Scars We Carve uncovers a powerful archive of Civil War–era print culture in which the individual body and its component parts, marked by violence or imbued with rhetorical power, testify to the horrors of war and the lasting impact of the internecine conflict. The Civil War brought about vast changes to the nation’s political, social, racial, and gender identities, and Johnson argues that print culture conveyed these changes to readers through depictions of nonnormative bodies. She focuses on images portrayed in the pages of newspapers and journals, in the left-handed writing of recent amputees who participated in penmanship contests, and in the accounts of anonymous poets and storytellers. Johnson reveals how allegories of the feminine body as a representation of liberty and the nation carved out a place for women in public and political realms, while depictions of slaves and black soldiers justified black manhood and citizenship in the midst of sectional crisis. By highlighting the extent to which the violence of the conflict marked the physical experience of American citizens, as well as the geographic and symbolic bodies of the republic, The Scars We Carve diverges from narratives of the Civil War that stress ideological abstraction, showing instead that the era’s print culture contains a literary and visual record of the war that is embodied and individualized.
The memoir of Marina von Neumann Whitman
NEW YORK TIMES 10 BEST BOOKS OF THE YEAR • “An epic road trip [that also] captures the unruly intimacies of marriage and parenthood ... This is a novel that daylights our common humanity, and challenges us to reconcile our differences.” —The Washington Post In Valeria Luiselli’s fiercely imaginative follow-up to the American Book Award-winning Tell Me How It Ends, an artist couple set out with their two children on a road trip from New York to Arizona in the heat of summer. As the family travels west, the bonds between them begin to fray: a fracture is growing between the parents, one the children can almost feel beneath their feet. Through ephemera such as songs, maps and a Polaroid camera, the children try to make sense of both their family’s crisis and the larger one engulfing the news: the stories of thousands of kids trying to cross the southwestern border into the United States but getting detained—or lost in the desert along the way. A breath-taking feat of literary virtuosity, Lost Children Archive is timely, compassionate, subtly hilarious, and formally inventive—a powerful, urgent story about what it is to be human in an inhuman world.
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