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A richly diverse anthology of Native American literature draws on the work of more than 200 tribes across the United States and Canada, providing information on the historical and cultural contexts of the stories, songs, prayers, and orations.
In these intertwined essays on art, music, and identity, Aisha Sabatini Sloan, the daughter of African American and Italian American parents, examines the experience of her mixed-race identity. Embracing the far-ranging stimuli of her media-obsessed upbringing, she grasps at news clippings, visual fragments, and lyrics from past and present in order to weave together a world of sense. Art in all forms guides the author toward understanding concepts like blackness, jazz, mortality, riots, space, time, self, and other without falling prey to the myth that all things must exist within a system of binaries. Recalling her awkward attempts at coolness during her childhood, Sabatini Sloan evokes Thelonious Monk’s stage persona as a metaphor for blackness. Through the conceptual art of Adrian Piper, the author is able to understand what is so quietly menacing about the sharp, clean lines of an art gallery where she works as an assistant. The result is a compelling meditation on identity and representation.
This collection of 16 essays discusses the broad relationship of women poets to the American literary tradition
And when an infant is abandoned at Lighted Way Church, Charlotte must once again face the truth that love breaks your heart, but love is the only way to live.
As turbulent social and economic changes swept the South in the first half of the twentieth century, education became the flashpoint. Ann Short Chirhart's study is the first to analyze such modernizing events in Georgia. She shows how these changes affected the creation of the state's public school system and cast its teachers in a crucial role as mediators between transformation and tradition. Depicting Georgia's steps toward modernity through teachers' professional and cultural work and the educational reforms they advocated, Chirhart presents a unique perspective on the convergence of voices across the state calling for reform or continuity, secularism or theology, equality or enforced norms, consumption or self-reliance. Although most teachers, black and white, shared backgrounds rooted in localism and evangelical Protestantism, attitudes about race and gender kept them apart. African American teachers, individually and collectively, redefined traditional beliefs to buttress ideals of racial uplift and to press for equal access to public services. White women adapted similar beliefs in different ways to enhance their efforts to train greater numbers of white students for professional and wage labor. Torches of Light is based on such sources as government archives, manuscript collections, and interviews with teachers. As Chirhart examines the ideas over which Georgians clashed, she also shows how those ideas were embodied in New Deal and U.S. Department of Agriculture programs, the political activities of the black Georgia Teachers and Educators Association, and the Georgia legislature's 1949 Minimum Foundation Act. Through two world wars and the Great Depression, teachers sought to reconcile clashing beliefs not only to renegotiate class, race, and gender roles but also to enhance their own professionalism and authority.
This book has been happening to me for the past twenty years. That may sound a little strange but, I have never sat down at any time with the intention of writing a poem. It all began when I attended a funeral one afternoon. As I listened to the funeral service I could not help feeling how little comfort the words brought to me. All that day I could not stop thinking about the words of the service; surely, I thought, there must be better words to say to those who are grieving. That evening I went for a walk, and as I stood by a farm gate looking over the fields, I had the most extraordinary urge to wrote something. I had no idea what I should write; I only know that I must write. So I hurried back home and sat down with a pen and paper. I still had no idea what I should write about. I sat there for about three minutes, still feeling the urge, and then my hand began to write. It is a very strange thing to see your hand writing words on paper which are not n your head. I'm quite used to it now, but on that first occasion I was a bit shocked. The writing that day was the poem 'Think of Me' and as you cans see, they are words which have brought comfort to friends from time to time. All the poems come through in their finished state, I rarely if ever have to change a word. I'm happy to say that years later I still get the urge and the poems are still bringing me messages. It is my sincere wish that others will find messages also. Cover painting- "Comes the Dawn" by Des Floody
• Bestselling author Barbara Hand Clow examines legendary cataclysms and shows how we are about to overcome the collective fear they have instilled in us. • The long-awaited follow-up that continues the revelations begun in The Pleiadian Agenda, which has sold more than 60,000 copies. • Explains why, contrary to many prophets of doom, we are actually on the cusp of an era of incredible creative growth. The recent discovery of the remains of ancient villages buried beneath the Black Sea is the latest instance of mounting evidence that many of the "mythic" catastrophes of history--the fall of Atlantis, the Biblical Flood--were actual events. In Catastrophobia Barbara Hand Clow shows that a series of cataclysmic disasters, caused by a massive disturbance in the Earth's crust 11,500 years ago, rocked the world and left humanity's collective psyche permanently scarred. We are a wounded species, and this unprocessed fear, passed from generation to generation, is responsible for our constant expectations of apocalypse, from Y2K to the famed end of the Mayan calendar in 2012. Catastrophobia reveals the insidious global forces that have used these collective fears to control humanity for thousands of years. But we are in the midst of a tremendous shift in the Earth's 26,000-year precessional cycle, and there is every indication that the changes in consciousness over the last 30 years are the beginnings of a collective healing from these deep fears, heralding a new age where we will see that the era of cataclysms is ending and a time of extraordinary creative activity is at hand.
When Patrick dies and the woman, Lennie, disappears, Mrs. Medina is left alone, facing a future that will not allow her to continue living in the way she has."--BOOK JACKET.
As we mature as believers there is a call upon our lives that we must continue to grow in our faith by walking in more light, that is revelation and understanding of who and what God is and who we are in respect of our faith. This call to walk in light is potholed with incorrect and deceiving doctrine that is designed to blind us from the light or keep us from the light entirely. Dr. Gene Herndon utilizes the Word of God to share with us how we can come up to the light and walk in the light so that we can and will experience greater degrees of revelation, understanding and victories.
Artwork by Milton Avery, Adolph Gottlieb, Mark Rothko. Edited by E.A. Carmean. Contributions by Robert Henry. Text by Philip Cavanaugh, Sean Avery Cavanaugh, Christopher Rothko, William Scharf, Madeleine Sentner, Justin Spring, Tony Vevers, Edye Weissler, Ann Freedman.