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Sibyl Robinson hears the evening news that Quebec's Lagado government has called a referendum it hopes will separate the French province from Canada. Upset by the announcement the unilingual anglophone leaves her flat on Cumae street and walks her dog Trio through Montreal's Little Burgundy district down to the Lachine Canal. On the way home she discovers the slain body a black youth in a school yard near her flat. Packets of cocaine are found in the boy's pockets and police assume the killing to be drug related. Sibyl's concern over the murder of 'one of her people' leads her to a friend of the slain youth and the two set out to find the killer. Their unusual investigation leads to officer Jean-Luc Turcotte as the culprit. He has been stealing confiscated cocaine from a police lock-up and soliciting black neighborhood youths to deliver the drugs to his selected customers. Detective lieutenant Marc Kelly is assigned to the case and Jean-Luc is eventually charged with the youth's murder. Sibyl who becomes a chief witness for the defense breaks with her son Mark when he decides to defend the white officer. A rather bizarre trial ensues and Jean-Luc is acquitted.
Story of a New England family who, upon finding out about their Negro ancestry, were confronted with the decision whether to maintain their white "front" or publicly accept their Negro past.
Between the eighteenth and mid-twentieth centuries, countless African Americans passed as white, leaving behind families and friends, roots and community. It was, as Allyson Hobbs writes, a chosen exile, a separation from one racial identity and the leap into another. This revelatory history of passing explores the possibilities and challenges that racial indeterminacy presented to men and women living in a country obsessed with racial distinctions. It also tells a tale of loss. As racial relations in America have evolved so has the significance of passing. To pass as white in the antebellum South was to escape the shackles of slavery. After emancipation, many African Americans came to regard passing as a form of betrayal, a selling of one’s birthright. When the initially hopeful period of Reconstruction proved short-lived, passing became an opportunity to defy Jim Crow and strike out on one’s own. Although black Americans who adopted white identities reaped benefits of expanded opportunity and mobility, Hobbs helps us to recognize and understand the grief, loneliness, and isolation that accompanied—and often outweighed—these rewards. By the dawning of the civil rights era, more and more racially mixed Americans felt the loss of kin and community was too much to bear, that it was time to “pass out” and embrace a black identity. Although recent decades have witnessed an increasingly multiracial society and a growing acceptance of hybridity, the problem of race and identity remains at the center of public debate and emotionally fraught personal decisions.
By the end of the Second World War, a growing segment of the American filmgoing public was wearying of mainstream Hollywood films and began to seek out something different. In major cities and college towns across the country, art film theaters provided a venue for alternatives to the films playing in main-street movie palaces: British, foreign-language, and independent American films, as well as documentaries and revivals of Hollywood classics. A skeptical film industry dubbed such cinemas "sure seaters," convinced that patrons would have no trouble finding seats there. However, with the success of art films like Rossellini's Open City and Mackendrick's Tight Little Island, the meaning of the term "sure seater" changed and, by the end of the 1940s, reflected the frequency with which art house cinemas filled all their seats. Wilinsky examines the development of the theaters that introduced such challenging, personal, and artistic films as The Bicycle Thief and The Red Shoes to American audiences, and offers a more complete understanding of postwar popular culture and the often complicated relationship between art cinema and the commercial film industry that ultimately shaped both and resulted in today's vibrant film culture. -- from back cover.
LIFE Magazine is the treasured photographic magazine that chronicled the 20th Century. It now lives on at LIFE.com, the largest, most amazing collection of professional photography on the internet. Users can browse, search and view photos of today’s people and events. They have free access to share, print and post images for personal use.
"Comprising all the decisions of the Supreme Courts of California, Kansas, Oregon, Washington, Colorado, Montana, Arizona, Nevada, Idaho, Wyoming, Utah, New Mexico, Oklahoma, District Courts of Appeal and Appellate Department of the Superior Court of California and Criminal Court of Appeals of Oklahoma." (varies)
Boundaries and Protection moves beyond love and light, connecting the reader to the wisdom of the graceful and fiercely protective spirit of the Mountain Lion and offering powerful tools for those looking to explore and establish boundaries in their lives. More than just a set of tools, however, Boundaries and Protection is a catalyst for change and healing, a path towards embracing who you’re meant to be. Prepare to be transformed by this book. Pixie Lighthorse is the author of five books centered on self-healing through intimate relationship with the natural world. She is an enrolled member of the Choctaw Nation of Oklahoma and writes as Lighthorse to honor the unheard voices of her ancestors. “Each of [Lighthorse’s] writings creates a touchpoint to spirit, a connection with heart space. This work is medicine for us all.” — Elena Brower, author of Practice You, Being You and Art of Attention