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Winner of the ALA Asian/Pacific American Award for Nonfiction "Captivating... [a] heartfelt account of how newcomers carve a space for themselves in the melting pot of America." --Publishers Weekly A first-generation immigrant's "intimate, passionate look at race in America" (Viet Thanh Nguyen), an American's journey into the heart of not-whiteness. At the age of 12, Sharmila Sen emigrated from India to the U.S. The year was 1982, and everywhere she turned, she was asked to self-report her race - on INS forms, at the doctor's office, in middle school. Never identifying with a race in the India of her childhood, she rejects her new "not quite" designation - not quite white, not quite black, not quite Asian -- and spends much of her life attempting to blend into American whiteness. But after her teen years trying to assimilate--watching shows like General Hospital and The Jeffersons, dancing to Duran Duran and Prince, and perfecting the art of Jell-O no-bake desserts--she is forced to reckon with the hard questions: What does it mean to be white, why does whiteness retain the magic cloak of invisibility while other colors are made hypervisible, and how much does whiteness figure into Americanness? Part memoir, part manifesto, Not Quite Not White is a searing appraisal of race and a path forward for the next not quite not white generation --a witty and sharply honest story of discovering that not-whiteness can be the very thing that makes us American.
"To truly understand the United States, one must understand the 'not-quite states of America." —Mark Stein, best-selling author of How the States Got Their Shapes Everyone knows that America is 50 states and…some other stuff. Scattered shards in the Pacific and the Caribbean, the not-quite states—American Samoa, Guam, Puerto Rico, the Northern Mariana Islands, and the U.S. Virgin Islands—and their 4 million people are often forgotten, even by most Americans. But they’re filled with American flags, U.S. post offices, and Little League baseball games. How did these territories come to be part of the United States? What are they like? And why aren’t they states? When Doug Mack realized just how little he knew about the territories, he set off on a globe-hopping quest covering more than 30,000 miles to see them all. In the U.S. Virgin Islands, Mack examines the Founding Fathers’ arguments over expansion. He explores Polynesia’s outsize influence on American culture, from tiki bars to tattoos, in American Samoa. He tours Guam with members of a military veterans’ motorcycle club, who offer personal stories about the territory’s role in World War II and its present-day importance for the American military. In the Northern Mariana Islands, he learns about star-guided seafaring from one of the ancient tradition’s last practitioners. And everywhere he goes in Puerto Rico, he listens in on the lively debate over political status—independence, statehood, or the status quo. The Not-Quite States of America is an entertaining account of the territories’ place in the USA, and it raises fascinating questions about the nature of empire. As Mack shows, the territories aren’t mere footnotes to American history; they are a crucial part of the story.
In twentieth-century Canada, mainline Protestants, fundamentalists, liberal nationalists, monarchists, conservative Anglophiles, and left-wing intellectuals had one thing in common: they all subscribed to a centuries-old world view that Catholicism was an authoritarian, regressive, untrustworthy, and foreign force that did not fit into a democratic, British nation like Canada. Analyzing the connections between anti-Catholicism and national identity in English Canada, Not Quite Us examines the consistency of anti-Catholic tropes in the public and private discourses of intellectuals, politicians, and clergymen, such as Arthur Lower, Eugene Forsey, Harold Innis, C.E. Silcox, F.R. Scott, George Drew, and Emily Murphy, along with those of private Canadians. Challenging the misconception that an allegedly secular, civic, and more tolerant nationalism that emerged excised its Protestant and British cast, Kevin Anderson determines that this nationalist narrative was itself steeped in an exclusionary Anglo-Protestant understanding of history and values. He shows that over time, as these ideas were dispersed through editorials, cartoons, correspondence, literature, and lectures, they influenced Canadians' intimate perceptions of themselves and their connection to Britain, the ethno-religious composition of the nation, the place of religion in public life, and national unity. Anti-Catholicism helped shape what it means to be "Canadian" in the twentieth century. Not Quite Us documents how equating Protestantism with democracy and individualism permeated ideas of national identity and continues to define Canada into the twenty-first century.
In twentieth-century Canada, mainline Protestants, fundamentalists, liberal nationalists, monarchists, conservative Anglophiles, and left-wing intellectuals had one thing in common: they all subscribed to a centuries-old world view that Catholicism was an authoritarian, regressive, untrustworthy, and foreign force that did not fit into a democratic, British nation like Canada. Analyzing the connections between anti-Catholicism and national identity in English Canada, Not Quite Us examines the consistency of anti-Catholic tropes in the public and private discourses of intellectuals, politicians, and clergymen, such as Arthur Lower, Eugene Forsey, Harold Innis, C.E. Silcox, F.R. Scott, George Drew, and Emily Murphy, along with those of private Canadians. Challenging the misconception that an allegedly secular, civic, and more tolerant nationalism that emerged excised its Protestant and British cast, Kevin Anderson determines that this nationalist narrative was itself steeped in an exclusionary Anglo-Protestant understanding of history and values. He shows that over time, as these ideas were dispersed through editorials, cartoons, correspondence, literature, and lectures, they influenced Canadians' intimate perceptions of themselves and their connection to Britain, the ethno-religious composition of the nation, the place of religion in public life, and national unity. Anti-Catholicism helped shape what it means to be "Canadian" in the twentieth century. Not Quite Us documents how equating Protestantism with democracy and individualism permeated ideas of national identity and continues to define Canada into the twenty-first century.
In this essay Yvonne Haddad explores the history of immigration and integration of Arab Muslims in the United States and their struggle to legitimate their presence in the face of continuing exclusion based on race, nationalist identity, and religion.
A picture book for magical yet imperfect children everywhere, written by debut author Ashley Franklin and perfect for fans of such titles as Matthew A. Cherry's Hair Love, Grace Byers's I Am Enough, and Lupita Nyong'o's Sulwe. Tameika is a girl who belongs on the stage. She loves to act, sing, and dance—and she’s pretty good at it, too. So when her school announces their Snow White musical, Tameika auditions for the lead princess role. But the other kids think she’s “not quite” right to play the role. They whisper, they snicker, and they glare. Will Tameika let their harsh words be her final curtain call? Not Quite Snow White is a delightful and inspiring picture book that highlights the importance of self-confidence while taking an earnest look at what happens when that confidence is shaken or lost. Tameika encourages us all to let our magic shine.
The improv star of Whose Line Is It Anyway? puts his “unique comic vision” to work on a range of literary classics (Toronto Star). Based on the improv game First Line, Last Line, actor and comedian Colin Mochrie puts his own spin on works of classic literature. Taking the first line and last line from classic books and poems, Colin recasts these familiar stories in his own trademark offbeat style. Join in the fun as a rainy day at home becomes a zombie-killing adventure in The Cat and My Dad . . . as well as riffs on everything from A Tale of Two Cities to a classic Sherlock Holmes novel, proving that no literary masterpiece is too big, or too small, for the improvisational comedy treatment. “Colin Mochrie is a comedic and creative force to be reckoned with. Therefore, this book is a literary force to be reckoned with. If you are too lazy for reckoning, just read this book and everything will work out nicely.” —Brad Sherwood “Colin Mochrie is devastatingly handsome, perilously smart, and smells like warm maple syrup. Step inside his hilarious and complex mind, and abandon all hope.” —Aisha Tyler
White trash. The phrase conjures up images of dirty rural folk who are poor, ignorant, violent, and incestuous. But where did this stigmatizing phrase come from? And why do these stereotypes persist? Matt Wray answers these and other questions by delving into the long history behind this term of abuse and others like it. Ranging from the early 1700s to the early 1900s, Not Quite White documents the origins and transformations of the multiple meanings projected onto poor rural whites in the United States. Wray draws on a wide variety of primary sources—literary texts, folklore, diaries and journals, medical and scientific articles, social scientific analyses—to construct a dense archive of changing collective representations of poor whites. Of crucial importance are the ideas about poor whites that circulated through early-twentieth-century public health campaigns, such as hookworm eradication and eugenic reforms. In these crusades, impoverished whites, particularly but not exclusively in the American South, were targeted for interventions by sanitarians who viewed them as “filthy, lazy crackers” in need of racial uplift and by eugenicists who viewed them as a “feebleminded menace” to the white race, threats that needed to be confined and involuntarily sterilized. Part historical inquiry and part sociological investigation, Not Quite White demonstrates the power of social categories and boundaries to shape social relationships and institutions, to invent groups where none exist, and to influence policies and legislation that end up harming the very people they aim to help. It illuminates not only the cultural significance and consequences of poor white stereotypes but also how dominant whites exploited and expanded these stereotypes to bolster and defend their own fragile claims to whiteness.
Born deep in the ocean, Kelp is not like the other narwhals and one day, when he spies a creature on land that looks like him, he learns why.