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The Navajo people of Canyon de Chelly must negotiate a delicate balance between the old and the new as they struggle to maintain their traditional ways of life in the midst of archaeologists, U.S. Park Service employees, and the increasing numbers of tourists who come to visit this hauntingly beautiful part of northeastern Arizona. Anthropologist-writer Jeanne Simonelli, who worked at Canyon de Chelly as a seasonal park ranger, interweaves stories of her personal experiences and friendships with canyon residents with discussions of native history and culture in the region. Focusing on the members of one extended Navajo family, Simonelli describes the small moments of their daily lives: shearing goats, baking bread, attending a solemn all-night health ceremony, washing clothes at the local laundromat, playing traditional games and contemporary sports, talking about the history of the Dinthe Navajo peopleand pondering the changes they have witnessed in the canyon and the difficulties they confront. Crossing Between Worlds is sumptuously illustrated with insightful black-and-white photographs that document the everyday activities of Navajo families in one of the most spectacular corners of the American Southwest.
NEW YORK TIMES BOOK REVIEW EDITORS’ CHOICE • An outsider who can travel between worlds discovers a secret that threatens the very fabric of the multiverse in this stunning debut, a powerful examination of identity, privilege, and belonging. WINNER OF THE COMPTON CROOK AWARD • FINALIST FOR THE LOCUS AWARD • “Gorgeous writing, mind-bending world-building, razor-sharp social commentary, and a main character who demands your attention—and your allegiance.”—Rob Hart, author of The Warehouse ONE OF THE BEST BOOKS OF THE YEAR—NPR, Library Journal, Book Riot Multiverse travel is finally possible, but there’s just one catch: No one can visit a world where their counterpart is still alive. Enter Cara, whose parallel selves happen to be exceptionally good at dying—from disease, turf wars, or vendettas they couldn’t outrun. Cara’s life has been cut short on 372 worlds in total. On this dystopian Earth, however, Cara has survived. Identified as an outlier and therefore a perfect candidate for multiverse travel, Cara is plucked from the dirt of the wastelands. Now what once made her marginalized has finally become an unexpected source of power. She has a nice apartment on the lower levels of the wealthy and walled-off Wiley City. She works—and shamelessly flirts—with her enticing yet aloof handler, Dell, as the two women collect off-world data for the Eldridge Institute. She even occasionally leaves the city to visit her family in the wastes, though she struggles to feel at home in either place. So long as she can keep her head down and avoid trouble, Cara is on a sure path to citizenship and security. But trouble finds Cara when one of her eight remaining doppelgängers dies under mysterious circumstances, plunging her into a new world with an old secret. What she discovers will connect her past and her future in ways she could have never imagined—and reveal her own role in a plot that endangers not just her world but the entire multiverse. “Clever characters, surprise twists, plenty of action, and a plot that highlights social and racial inequities in astute prose.”—Library Journal (starred review)
Combines histories of the complex interactions between blacks and Natives in North America with examples and readings of art that has emerged from those exchanges.
From the Amazon Charts bestselling author of An American Princess comes the true story of an unconventional family divided by war and prejudice during WWII. When they fell in love in 1928, Rika and Waldemar could not have been more different. She was a thirty-seven-year-old Dutch-born mother, estranged from her husband. He was her immigrant boarder, not yet twenty, and a wealthy Surinamese descendant of slaves. The child they have together, brown skinned and blue eyed, brings the couple great joy yet raises some eyebrows. Until the Nazi occupation of the Netherlands explodes their promising life. What unfolds is more than the astonishing story of a love that prevailed over convention. It's also the quest of a young boy. Through the cruelty of World War II, he will fight for a connection between his father's South American birthplace and his mother's European traditions. Lost and displaced for much of his life, but with a legacy of resilience in his blood, he will struggle to find his place in the world. Moving deftly between personal experience and the devastating machinations of war, The Boy Between Worlds is an unforgettable journey of hope, love, and courage in the face of humanity's darkest hour.
Winner of the 2008 Washington State Book Award for History/Biography In traditional scholarship, Native Americans have been conspicuously absent from urban history. Indians appear at the time of contact, are involved in fighting or treaties, and then seem to vanish, usually onto reservations. In Native Seattle, Coll Thrush explodes the commonly accepted notion that Indians and cities-and thus Indian and urban histories-are mutually exclusive, that Indians and cities cannot coexist, and that one must necessarily be eclipsed by the other. Native people and places played a vital part in the founding of Seattle and in what the city is today, just as urban changes transformed what it meant to be Native. On the urban indigenous frontier of the 1850s, 1860s, and 1870s, Indians were central to town life. Native Americans literally made Seattle possible through their labor and their participation, even as they were made scapegoats for urban disorder. As late as 1880, Seattle was still very much a Native place. Between the 1880s and the 1930s, however, Seattle's urban and Indian histories were transformed as the town turned into a metropolis. Massive changes in the urban environment dramatically affected indigenous people's abilities to survive in traditional places. The movement of Native people and their material culture to Seattle from all across the region inspired new identities both for the migrants and for the city itself. As boosters, historians, and pioneers tried to explain Seattle's historical trajectory, they told stories about Indians: as hostile enemies, as exotic Others, and as noble symbols of a vanished wilderness. But by the beginning of World War II, a new multitribal urban Native community had begun to take shape in Seattle, even as it was overshadowed by the city's appropriation of Indian images to understand and sell itself. After World War II, more changes in the city, combined with the agency of Native people, led to a new visibility and authority for Indians in Seattle. The descendants of Seattle's indigenous peoples capitalized on broader historical revisionism to claim new authority over urban places and narratives. At the beginning of the twenty-first century, Native people have returned to the center of civic life, not as contrived symbols of a whitewashed past but on their own terms. In Seattle, the strands of urban and Indian history have always been intertwined. Including an atlas of indigenous Seattle created with linguist Nile Thompson, Native Seattle is a new kind of urban Indian history, a book with implications that reach far beyond the region. Replaced by ISBN 9780295741345
"The Navajo people of Canyon de Chelly must negotiate a delicate balance between the old and the new as they struggle to maintain their traditional ways of life in the midst of archaeologists, U.S. Park Service employees, and the increasing numbers of tourists who come to visit this hauntingly beautiful part of northeastern Arizona. Anthropologist-writer Jeanne Simonelli, who worked at Canyon de Chelly as a seasonal park ranger, interweaves stories of her personal experiences and friendships with canyon residents with discussions of native history and culture in the region."--BOOK JACKET.
This memoir is about the author's journey as a Lebanese Arab-American woman through the confusion of a Muslim/Christian identity and a nomadic diplomatic life.
Collects three stand alone stories based on the characters in the Planetary series.
Ancient, rich, and strange, these magical and eerie tales from across Britain and Ireland have been passed down from generation to generation. A handsome, cocky young man is swept up by a dark horseman and cast into a life-or-death adventure. A pair of green children emerge from a remote hollow and struggle to adapt to a strange new land. A dauntless farm girl finds that her fearlessness earns her a surprising reward. Dark but often funny, lyrical yet earthy, the folktales presented here have influenced our landscape and culture. This definitive collection of forty-eight stories, retold by master storyteller and poet Kevin Crossley-Holland, opens a doorway to a lost world and shows the enduring power of language and imagination.
"Bill Traylor (ca. 1853-1949) is regarded today as one of the most important American artists of the twentieth century. A black man born into slavery in Alabama, he was an eyewitness to history--the Civil War, Emancipation, Reconstruction, Jim Crow segregation, the Great Migration, and the steady rise of African American urban culture in the South. Traylor would not live to see the civil rights movement, but he was among those who laid its foundation. Starting around 1939, Traylor--by then in his late eighties and living on the streets of Montgomery--took up pencil and paintbrush to attest to his existence and point of view. In keeping with this radical step, the paintings and drawings he made are visually striking and politically assertive; they include simple yet powerful distillations of tales and memories as well as spare, vibrantly colored abstractions. When Traylor died, he left behind more than one thousand works of art. In Between Worlds: The Art of Bill Traylor, Leslie Umberger considers more than two hundred artworks to provide the most comprehensive and in-depth study of the artist to date; she examines his life, art, and powerful drive to bear witness through the only means he had, pictures. The author draws on a wealth of historical documents--including federal and state census records, birth and death certificates, slave schedules, and interviews with family members-- to clarify the record of Traylor's personal history and family life. The story of his art opens in the late 1930s, when Traylor first received attention for his pencil drawings on found board, and concludes with the posthumous success of his oeuvre"--