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The Resettlement of Isaac is a theater script, companion piece and sequel to the historical fiction Isaac based on the true, incredible story of Isaac Gochman, a 17-year old from Rovno, Poland, who, in one horrific night, survives a Nazi massacre of his entire family along with 20,000 other Jews. Thrust alone into the forest and the wilderness of war, Isaac finds the courage to fight back as a Russian partisan blowing up Nazi trains, and finds the passion to fall deeply in love with Anya, a Russian partisan nurse—in love for the first time in his young life. It is a tragic love that transcends religious differences. Many years later in New York, the elderly Isaac is still haunted by the memory of his first love. His only friend, a young German-American woman, is tormented herself by doubts about her father’s role as a German soldier during the war. Deeply affected by Isaac’s past, she becomes the loving caretaker of his memories after he is gone. The play confirms what Faulkner once wrote, “The past is never dead, it’s not even past.”
Based on extensive archival research in six countries and intensive fieldwork, the book analyzes the history of the village of Nkholongue on the eastern (Mozambican) shores of Lake Malawi from the time of its formation in the 19th century to the present day. The study uses Nkholongue as a microhistorical lens to examine such diverse topics as the slave trade, the spread of Islam, colonization, subsistence production, counter-insurgency, decolonization, civil war, ecotourism, and matriliny. Thereby, the book attempts to reflect as much as possible on the generalizability and (global) comparability of local findings by framing analyses in historiographical discussions that aim to go beyond the regional or national level. Although the chapters of the book deal with very different topics and can also stand on their own, they are united by a common interest in the social history of rural Africa in the longue durée. Contrary to persistent clichés of rural inertia in Africa, the book as a whole underscores the profound changeability of social conditions and relations in Nkholongue over the years and highlights how people's room for maneuver kept changing as a result of the Winds of History, the frequent and often violent ruptures brought to the village from outside.
Shocked out of the complacency of a normal adolescencE, Harper has had to come to terms with MS. The disease had progressed to the point where he required help to go about his daily life.
About the Book In No Turning Back, Lena has a nice, stable, and normal life until one day when she learns the secrets that her husband has been hiding. When he disappears, she tries to keep her life stable with her young daughter and her controlling mother-in-law. Soon she finds herself surrounded by murder, betrayal, and legal trouble. Eventually, Lena is incarcerated through no fault of her own. Lena must learn to adapt to life in prison. Once she is finally released, she is desperate to start over and to fix her past all at the same time. She starts over in a new country with a new job and new challenges. Will she succeed in overcoming new trials and tribulations that face her? Will she fall in love again? Will she reconnect with her daughter? This inspirational and sometimes heartbreaking tale of Lena will show readers the power they can have to overcome life’s toughest challenges. About the Author Luba Kamen was born in Harbin, China. She currently resides in California. She enjoys learning about politics, reading, and writing in her free time. She also likes to cook and collects Buddhist artifacts. Kamen is a widow with two children. She earned a degree in psychology and has her teaching credentials in special education.
This timely book focuses on one of the so-called “durable solutions to the problem of refugees” that UNHCR has been charged to pursue: resettlement. Resettlement consists of the transfer of refugees from their country of asylum to another state in case of severe protection problems in the country of asylum. States are not obliged to offer resettlement places, and in practice that means that resettlement is run as a discretionary immigration scheme. This book attempts to integrate resettlement in international refugee law.
Describes the formation of one of the most daring underground movements of World War II under the leadership of twenty-four-year-old Isaac Zuckerman, and the group's collective efforts to gather information, build an arms cache, participate in uprisings, and organize escape systems.
Enoch, Levi, and Jubilees on Sexuality marks a first stage in William Loader's research on attitudes toward sexuality in Judaism and Christianity of the Hellenistic Greco-Roman era. Loader first discusses the early Enoch literature relevant to the theme, focusing on the impact of an ancient myth on the writings and examining how sexual deeds are not here concerned with sexual wrongdoing. He then examines the weight of such wrongdoing in the priestly instruction of the fragmentary Aramaic Levi Document as a whole. He finally considers Jubilees as a cumulative work, building on both the Enoch tradition and the instruction of Levi, and reveals a range of devices warning against sexual depravity. Loader's aim throughout is to interpret the works from within, examining literary form, context, sequence, and tradition and redaction, reflecting engagement with current research in this area.
Mobility and migration were not uncommon in Byzantium, as is true for all societies. Yet, scholarship is only beginning to pay attention to these phenomena. This book presents in English translation a wide array of relevant source texts from ca. 650 to ca. 1450 originally written in medieval Greek: from administrative records, saints’ lives and letters by churchmen to ego-documents by ambassadors and historical narratives by court historians. Each source text is accompanied by a detailed introduction, commentary and further bibliography, thus making the book accessible to both scholars and students and laying the groundwork for future research on the internal dynamics of Byzantine society.
The story of water in the United States is one of ecosystemic disruption and social injustice. From the Standing Rock Indian Reservation and Flint, Michigan, to the Appalachian coal and gas fields and the Gulf Coast, low-income communities, Indigenous communities, and communities of color face the disproportionate effects of floods, droughts, sea level rise, and water contamination. In Hydronarratives Matthew S. Henry examines cultural representations that imagine a just transition, a concept rooted in the U.S. labor and environmental justice movements to describe an alternative economic paradigm predicated on sustainability, economic and social equity, and climate resilience. Focused on regions of water insecurity, from central Arizona to central Appalachia, Henry explores how writers, artists, and activists have creatively responded to intensifying water crises in the United States and argues that narrative and storytelling are critical to environmental and social justice advocacy. By drawing on a wide and comprehensive range of narrative texts, historical documentation, policy papers, and literary and cultural scholarship, Henry presents a timely project that examines the social movement, just transition, and the logic of the Green New Deal, in addition to contemporary visions of environmental justice.
LIGHTS is a new, possibly annual, space for a variety of local and Pleasure Boat Studio talents. Behind the name: When first coming up with the name for this collective way to publish more people, I was thinking of one word possibilities, starting with boat related ideas to pair the theme with ‘Pleasure Boat’: mast, anchor, waves, skiff, oar, etc. Then, ‘lights’ came to me, simple as that and I liked it and stuck with it. The feeling of it felt warm, infinite, fresh, mysterious, clean, airy, mystical, soft, glowing, urban, can’t even describe it really….Then, I got to thinking of forms of light, natural and electric, and the feeling and meanings “Light” can evoke by what light is cast, by which angle and direction, and what lights can show or reveal, reflect or bare witness to. Lights illuminate the dark so we can see, so we can see where we’re going, and see where we are. So, take a glimpse and a ponder into what these contributors want to show you, for what they may put a spotlight on in our lit up world, however dark it might get sometimes. short stories: John Christopher Nelson / essays: Baret Magarian, Mary Lou Sanelli / poetry: Esther Cohen, John Delaney, Eileen Duncan, Scott Ezell, David Grosskopf, Alicia Hokanson, Edward Harkness, Jared Leising, Claudia Castro Luna, Kevin Miller, Melissa Niño, Allison Paul, Sherry Rind, Sarah Plimpton, Scott Ruescher, Judith Skillman, Kari Vamaro, Thomas Walton, Michael Dylan Welch, Shin Yu Pai / art: Jason Bloom, Lauren Grosskopf, Nancy Peacock, Lara Swimmer, Travis Winn, Robert Zimmer