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Things at school have changed and at home Nanea's brother is talking about enlisting in the military; Nanea is having trouble coping with all these changes and turns to hula dancing to help her feel better.
"Nanea Mitchell had hoped that going back to school would make life seem normal again. But everything has changed since the war started, including Miss Smith's wonderful classroom. Nanea' dear friend Donna is gone, and now there's a new girl who seems to be getting all of Miss Smith's attention. There are also worries at home as Nanea' big brother talks about joining the Army. Nanea can't bear the thought of him leaving. In the swirl of changes, Nanea turns to hula. Dancing always makes her feel better. Then, Nanea gets a big idea-- could hula help lift the spirits of the soldiers, too?"--Page [4] of cover.
"Everything has changed...since the war started. Nanea had hoped that going back to school would make life seem normal again. But it hasn't. There are still curfews and blackouts and constant reminders of war. Nanea's dear friend Donna had to leave Hawaii, and Nanea's big brother keeps talking about joining the Army. She can't bear the thought of him far from home and in danger. In the swirl of changes, Nanea turns to hula. Dancing makes her feel better, and soon she learns how much it lifts the spirits of the soldiers, too. When a surprising hula partner boosts everyone's morale, Nanea gets a big idea" -- Back cover.
Without trial and without due process, the United States government locked up nearly all of those citizens and longtime residents who were of Japanese descent during World War II. Ten concentration camps were set up across the country to confine over 120,000 inmates. Almost 20,000 of them were shipped to the only two camps in the segregated South—Jerome and Rohwer in Arkansas—locations that put them right in the heart of a much older, long-festering system of racist oppression. The first history of these Arkansas camps, Concentration Camps on the Home Front is an eye-opening account of the inmates’ experiences and a searing examination of American imperialism and racist hysteria. While the basic facts of Japanese-American incarceration are well known, John Howard’s extensive research gives voice to those whose stories have been forgotten or ignored. He highlights the roles of women, first-generation immigrants, and those who forcefully resisted their incarceration by speaking out against dangerous working conditions and white racism. In addition to this overlooked history of dissent, Howard also exposes the government’s aggressive campaign to Americanize the inmates and even convert them to Christianity. After the war ended, this movement culminated in the dispersal of the prisoners across the nation in a calculated effort to break up ethnic enclaves. Howard’s re-creation of life in the camps is powerful, provocative, and disturbing. Concentration Camps on the Home Front rewrites a notorious chapter in American history—a shameful story that nonetheless speaks to the strength of human resilience in the face of even the most grievous injustices.
Nanea Mitchell thinks she is grown up enough to help in her grandparent's market, but before she can prove herself, Japan attacks Pearl Harbor, the naval base where her father works, and suddenly her island way of life is changed forever.
Raised in a time when little was known about learning disabilities, severe ADHD, or bipolar disorder. When counseling was only available to the wealthy and there were no terms or understanding for such things as aEURoedysfunctional families,aEUR aEURoesurvivoraEUR(tm)s guilt,aEUR or aEURoepost-traumatic stress disorder.aEUR Randy Tomlin learned to survive. He survived emotional abuse, two attempts at suicide, broken marriages, and being held at gunpoint while his girlfriend was raped. He surrendered to God and eventually, as counseling became more available, Randy was encouraged to journal his story and the healing journey really began.
Cole--a friend and colleague of Frank Oppenheimer's for many years--has drawn from letters, documents, and extensive interviews to write a very personal story of the man whose irrepressible spirit would inspire so many.
Best known for her long-running comic strip Ernie Pook's Comeek, illustrated fiction (Cruddy, The Good Times Are Killing Me), and graphic novels (One! Hundred! Demons!), the art of Lynda Barry (b. 1956) has branched out to incorporate plays, paintings, radio commentary, and lectures. With a combination of simple, raw drawings and mature, eloquent text, Barry's oeuvre blurs the boundaries between fiction and memoir, comics and literary fiction, and fantasy and reality. Her recent volumes What It Is (2008) and Picture This (2010) fuse autobiography, teaching guide, sketchbook, and cartooning into coherent visions. In Lynda Barry: Girlhood through the Looking Glass, author Susan E. Kirtley examines the artist's career and contributions to the field of comic art and beyond. The study specifically concentrates on Barry's recurring focus on figures of young girls, in a variety of mediums and genres. Barry follows the image of the girl through several lenses—from text-based novels to the hybrid blending of text and image in comic art, to art shows and coloring books. In tracing Barry's aesthetic and intellectual development, Kirtley reveals Barry's work to be groundbreaking in its understanding of femininity and feminism.
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