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The dream was always the same: I was back in Russia. My family was sitting around the Sabbath table: Mama, Papa, baby Hannah and my brothers Lemmel and Shloyme. I was telling a story about America—there were gold streets and chickens roosting in trees. Suddenly, Papa and I were on board a ship sailing far away. Ahead I saw the Statue of Liberty towering over the harbor of New York, but she raised her hand high above her head to stop us. I looked around for Papa. I was all alone. Then I woke up and remembered. Papa and I had arrived at Ellis Island. For three years we had been living on the Lower East Side of New York. Papa worked in a sweatshop earning money to bring over the rest of the family, while I worked after school. I dreamed of the day our family would be together again. And tomorrow, it would finally happen. Would they love America like I did or would they say "a curse on Columbus" because the New World brought them nothing but trouble and hard work? Eve Tal was born in the United States, but lives on Kibbutz Hatzor in Israel. Cursing Columbus is her second young adult historical novel and is the sequel to Double Crossing, which is based on her grandfather's emigration story from the Ukraine.
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This book explores the parallel and yet profoundly different ways of seeing the outside world and engaging with the foreign at two important moments of dislocation in Chinese history, namely, the early medieval period commonly known as the Northern and Southern Dynasties (317–589 CE), and the nineteenth century. Xiaofei Tian juxtaposes literary, historical, and religious materials from these two periods in comparative study, bringing them together in their unprecedentedly large-scale interactions, and their intense fascination, with foreign cultures. By examining various cultural forms of representation from the two periods, Tian attempts to sort out modes of seeing the world that inform these writings. These modes, Tian argues, were established in early medieval times and resurfaced, in permutations and metamorphoses, in nineteenth-century writings on encountering the Other. This book is for readers who are interested not only in early medieval or nineteenth-century China but also in issues of representation, travel, visualization, and modernity.
Although the United States prides itself as a nation of diversity, the country that boasts of its immigrant past also wrestles with much of its immigrant present. While conflicting attitudes about immigration are debated, newcomers—both legal and otherwise—continue to arrive on American soil. And books about the immigrant experience—aimed at both adults and youth—are published with a fair amount of frequency. In Immigration Narrative in Young Adult Literature: Crossing Borders, Joanne Brown explores the experiences of adolescents as portrayed in young adult novels. Her study features protagonists from a wide variety of religious and ethnic backgrounds in order to provide a complete discussion of the immigration experience of young adults. In this volume, Brown analyzes young adult novels that portray various aspects of the immigrant experience—journeys to the shores of the United States, the difficulties of adjustment, and the tensions that develop within family units as a result of immigration. Brown also examines how ethnicity, religion, and country of origin affect the adolescent characters' adjustment to their new country, as well as the process of moving from social outsiders to accepted citizens. This thoroughly researched book includes theories of adolescent development and perspectives on immigration itself applied to the literary analyses. It also offers a framework for anticipating the success of young immigrants and relates this analysis to the novels Brown discusses. With an appendix of additional novels for further reading, this book will be a useful resource for librarians and teachers of adolescent literature, as well as for students, both those born in the United States and those who are immigrants themselves.
Arts for Change presents strategies and theory for teaching socially engaged art with an historical and contemporary overview of the field. The book features interviews with over thirty maverick artists/faculty from colleges and universities in the United States, Canada, and Great Britain, whose pedagogy is drawn from and informs activist arts practice. The issues these teaching artists address are provocative and diverse. Some came to this work through personal healing from injustice and trauma or by witnessing oppressions that became intolerable. Many have taught for decades, deeply influenced by social movements of the 1960s and 1970s, yet because the work is controversial, tenured positions are rare.