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A book of poetry
For centuries the Tao Te Ching, the book of ancient wisdom by Lao Tsu, has offered insight, inspiration and consolation to millions of readers. Although numberless translations and commentaries exist around the world, Return to the Mother, A Lover’s Handbook, is a groundbreaking effort and a unique contribution to the canon of American poetry. In this volume, internationally known poet Red Hawk offers poetic reflections on these much-loved ancient sutras. This collection of 94 contemporary poems (each 16 lines), brings this perennial wisdom into the 21st century—and adds the flavor and fragrance of Zen and Gurdjieff’s dharma teachings in a spare poetic marriage with Lao Tsu. Each poem invites the reader to bring this wisdom to his or her daily practice of self observation and self remembering. The poet begs for a return to the true Self, which he symbolizes as the place of the Mother within. Our Mother has no words, She is Silence, She is the present, herenow. To be here-now, in this body, is to return to Our Mother . . . This volume is a companion and completion to the author’s two previous volumes Self Observation: The Awakening of Conscience. An Owner’s Manual; and Self Remembering: The Path to Non-Judgmental Love. A Practitioner’s Manual. RECOMMENDED FOR: READERS OF THE AUTHOR’S PREVIOUS BOOKS; STUDENTS OF ANY SPIRITUAL OR “WORK-ON-SELF” PRACTICE; SCHOLARS, POETS, UNIVERSITY LIBRARIES AND LOVERS OF POETRY.
Describes the early childhood and life of Grace Snyder, whose family owned a Nebraska homestead in the late nineteenth century and endured the hardships and dangers of the prairie.
Colliding with and confronting The Tempest and postcolonial identity, the poems in Safiya Sinclair's Cannibal explore Jamaican childhood and history, race relations in America, womanhood, otherness, and exile. She evokes a home no longer accessible and a body at times uninhabitable, often mirrored by a hybrid Eve/Caliban figure. Blooming with intense lyricism and fertile imagery, these full-blooded poems are elegant, mythic, and intricately woven. Here the female body is a dark landscape; the female body is cannibal. Sinclair shocks and delights her readers with her willingness to disorient and provoke, creating a multitextured collage of beautiful and explosive poems.
Poetry. Selected by Reginald Shepherd. Winner of the 2005 Anhinga Prize for Poetry, Sandy Longhorn's BLOOD ALMANAC "is a beautiful yet modest and unassuming book, one that claims less than it accomplishes, transfiguring personal narrative and landscape into things rich and strange: 'The air is heavy with the desire to claw beneath/ the surfaces of things.'"--Reginald Shepherd. "Whether evoking the very American landscape of Midwestern farms or tracing a more interior journey, Sandy Longhorn writes not only of solitude and longing but also of the power of language and its mysterious twin, quiet attention, to brighten the way. Here is the accuracy of faith. Here, a series of 'momentary constellations' flickering. Here, poems 'both diary and document/ held open and up to the light"--Mary Ann Samyn.
For anyone who has ever wanted to step into the world of a favorite book, here is a pioneer pilgrimage, a tribute to Laura Ingalls Wilder, and a hilarious account of butter-churning obsession. Wendy McClure is on a quest to find the world of beloved Little House on the Prairie author Laura Ingalls Wilder-a fantastic realm of fiction, history, and places she's never been to, yet somehow knows by heart. She retraces the pioneer journey of the Ingalls family- looking for the Big Woods among the medium trees in Wisconsin, wading in Plum Creek, and enduring a prairie hailstorm in South Dakota. She immerses herself in all things Little House, and explores the story from fact to fiction, and from the TV shows to the annual summer pageants in Laura's hometowns. Whether she's churning butter in her apartment or sitting in a replica log cabin, McClure is always in pursuit of "the Laura experience." Along the way she comes to understand how Wilder's life and work have shaped our ideas about girlhood and the American West. The Wilder Life is a loving, irreverent, spirited tribute to a series of books that have inspired generations of American women. It is also an incredibly funny first-person account of obsessive reading, and a story about what happens when we reconnect with our childhood touchstones-and find that our old love has only deepened.
Winner of the Prairie Schooner Book Prize in Poetry, Some Are Always Hungry chronicles a family's wartime survival, immigration, and heirloom trauma through the lens of food, or the lack thereof. Through the vehicle of recipe, butchery, and dinner table poems, the collection negotiates the myriad ways diasporic communities comfort and name themselves in other nations, as well as the ways cuisine is inextricably linked to occupation, transmission, and survival. Dwelling on the personal as much as the historical, Some Are Always Hungry traces the lineage of the speaker's place in history and diaspora through mythmaking and cooking, which is to say, conjuring.
The haunting memoir of a girl growing up in the Moso country in the Himalayas -- a unique matrilineal society. But even in this land of women, familial tension is eternal. Namu is a strong-willed daughter, and conflicts between her and her rebellious mother lead her to break the taboo that holds the Moso world together -- she leaves her mother's house.
Contributions by Lawrence Abrams, Dorian L. Alexander, Max Bledstein, Peter Cullen Bryan, Stephen Connor, Matthew J. Costello, Martin Flanagan, Michael Fuchs, Michael Goodrum, Bridget Keown, Kaleb Knoblach, Christina M. Knopf, Martin Lund, Jordan Newton, Stefan Rabitsch, Maryanne Rhett, and Philip Smith History has always been a matter of arranging evidence into a narrative, but the public debate over the meanings we attach to a given history can seem particularly acute in our current age. Like all artistic mediums, comics possess the power to mold history into shapes that serve its prospective audience and creator both. It makes sense, then, that history, no stranger to the creation of hagiographies, particularly in the service of nationalism and other political ideologies, is so easily summoned to the panelled page. Comics, like statues, museums, and other vehicles for historical narrative, make both monsters and heroes of men while fueling combative beliefs in personal versions of United States history. Drawing the Past, Volume 1: Comics and the Historical Imagination in the United States, the first book in a two-volume series, provides a map of current approaches to comics and their engagement with historical representation. The first section of the book on history and form explores the existence, shape, and influence of comics as a medium. The second section concerns the question of trauma, understood both as individual traumas that can shape the relationship between the narrator and object, and historical traumas that invite a reassessment of existing social, economic, and cultural assumptions. The final section on mythic histories delves into ways in which comics add to the mythology of the US. Together, both volumes bring together a range of different approaches to diverse material and feature remarkable scholars from all over the world.
National Book Critics Circle Award Winner National Bestseller Lambda Literary Award Finalist NAMED ONE OF THE BEST BOOKS OF THE YEAR BY TIME * NPR * The Washington Post * Kirkus Reviews * Washington Independent Review of Books * The Millions * Electric Literature * Ms Magazine * Entropy Magazine * Largehearted Boy * Passerbuys “Irreverent and original.” –New York Times “Magisterial.” –The New Yorker “An intoxicating writer.” –The Atlantic “A classic!” –Mary Karr “A true light in the dark.” –Stephanie Danler “An essential, heartbreaking project.” –Carmen Maria Machado A gripping set of stories about the forces that shape girls and the adults they become. A wise and brilliant guide to transforming the self and our society. In her powerful new book, critically acclaimed author Melissa Febos examines the narratives women are told about what it means to be female and what it takes to free oneself from them. When her body began to change at eleven years old, Febos understood immediately that her meaning to other people had changed with it. By her teens, she defined herself based on these perceptions and by the romantic relationships she threw herself into headlong. Over time, Febos increasingly questioned the stories she'd been told about herself and the habits and defenses she'd developed over years of trying to meet others' expectations. The values she and so many other women had learned in girlhood did not prioritize their personal safety, happiness, or freedom, and she set out to reframe those values and beliefs. Blending investigative reporting, memoir, and scholarship, Febos charts how she and others like her have reimagined relationships and made room for the anger, grief, power, and pleasure women have long been taught to deny. Written with Febos' characteristic precision, lyricism, and insight, Girlhood is a philosophical treatise, an anthem for women, and a searing study of the transitions into and away from girlhood, toward a chosen self.