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An 8-volume reference set containing over 4,000 entries written by distinguished scholars, 'The African American National Biography' is the most significant and expansive compilation of black lives in print today.
NEW YORK TIMES BESTSELLER • The social media star, New York Times columnist, and author of Dining In helps you nail dinner with unfussy food and the permission to be imperfect. “Enemy of the mild, champion of the bold, Ms. Roman offers recipes in Nothing Fancy that are crunchy, cheesy, tangy, citrusy, fishy, smoky and spicy.”—Julia Moskin, The New York Times IACP AWARD FINALIST • NAMED ONE OF THE BEST COOKBOOKS OF THE YEAR BY The New York Times Book Review • The New Yorker • NPR • The Washington Post • San Francisco Chronicle • BuzzFeed • The Guardian • Food Network An unexpected weeknight meal with a neighbor or a weekend dinner party with fifteen of your closest friends—either way and everywhere in between, having people over is supposed to be fun, not stressful. This abundant collection of all-new recipes—heavy on the easy-to-execute vegetables and versatile grains, paying lots of close attention to crunchy, salty snacks, and with love for all the meats—is for gatherings big and small, any day of the week. Alison Roman will give you the food your people want (think DIY martini bar, platters of tomatoes, pots of coconut-braised chicken and chickpeas, pans of lemony turmeric tea cake) plus the tips, sass, and confidence to pull it all off. With Nothing Fancy, any night of the week is worth celebrating. Praise for Nothing Fancy “[Nothing Fancy] is full of the sort of recipes that sound so good, one contemplates switching off any and all phones, calling in sick, and cooking through the bulk of them.”—Food52 “[Nothing Fancy] exemplifies that classic Roman approach to cooking: well-known ingredients rearranged in interesting and compelling ways for young home cooks who want food that looks (and photographs) as good as it tastes.”—Grub Street
She was the American woman who changed Australian history. She broke through barriers for women in architecture and spent 15 years working for Chicago architect Frank Lloyd Wright, in the formative years of the Prairie School of Architecture. Then she teamed up with Walter Burley Griffin working with him in winning the design contest for the new Australian capital city, Canberra. She was an architect, artist, environmentalist, social observer and community builder, yet her work has been constantly overshadowed by the famous men in her life. The first biography of Marion Mahony Griffin in her own right, Making Magic tells Marion's story. It dates back to the days of Abraham Lincoln who was friends with her grandparents as a travelling lawyer in Illinois. It follows the story of her life over three continents - America, Australia and India. And her love affair with her husband which produced such historic results. A woman with a fierce sense of idealism and a passion for nature, Marion always had a mind of her own. She developed fine artistic and architectural skills which helped to make Wright and then Griffin famous. A woman in a man's world, she made history with her pioneering role as a female architect. Her creative work was sheer magic. Faced with her own challenges, she drew on her energy and creativity to refashion her role in a new country. She was instrumental in setting up a unique community in the Sydney suburb of Castlecrag. Her paintings, drawings and descriptions of the Australian bushland produced another exercise in magic. Yet few know her real story. Making Magic comes as Marion's role is now being recognised with accolades in America and Australia. Northwestern University Professor David Van Zanten describes her as the Frida Kahlo of the Chicago school of architecture. "Everywhere and nowhere, forgotten then suddenly remembered, unique in her work." Drawing on her diaries and historical records in libraries in Australia and America, and conversations with Griffin experts home owners and others with links to Marion's life, Making Magic tells the story of a most unusual woman. It puts the case for her recognition as an important figure who emerged from Chicago's Prairie School of architecture and tells an inspiring story of a woman and her own special brand of magic. About the Author: Glenda Korporaal is a journalist and writer based in Sydney, Australia. She has lived in Canberra and Washington, DC, and has a Master of Arts (Economics) from George Washington University, Washington, DC. The author of four books, she has a long time fascination with the work of Frank Lloyd Wright and interest in the ties between Australia and America.
The new book by prize-winning biographer Evelyn Juers, author of The House of Exile and The Recluse, portrays the life and background of a pioneering Australian dancer who died at the age of twenty-five in a remote town in India. A uniquely talented dancer and choreographer, Philippa Cullen grew up in Australia in the 1950s and 60s. In the 1970s, driven by the idea of dancing her own music, she was at the forefront of the new electronic music movement, working internationally with performers, avant-garde composers, engineers and mathematicians to build and experiment with theremins and movement-sensitive floors, which she called body-instruments. She had a unique sense of purpose, read widely, travelled the world, and danced at opera houses, art galleries and festivals, on streets and bridges, trains, clifftops, rooftops. She wrote, I would define dance as an outer manifestation of inner energy in an articulation more lucid than language. An embodiment of the artistic aspirations of her age, she died alone in a remote hill town in southern India in 1975. With detailed reference to Cullen’s personal papers and the recollections of those who knew her, and with her characteristic flair for drawing connections to bring in larger perspectives, Evelyn Juers’ The Dancer is at once an intimate and wide-ranging biography, a portrait of the artist as a young woman.
La Gumas powerful, firsthand account depicts the dedicated South African people who risked their lives in the underground movement against apartheid. The main characters, Beukes and Elias, are among others determined to undermine apartheids blatant oppression and demeaning tactics. The authors knack for rich descriptions and weaving the past with the present transports readers to the grind of working in an underground political organization and the challenges of confronting hardships, change, and injustice on a daily basis.
Stand-Up Comedy in Theory, or, Abjection in America is the first study of stand-up comedy as a form of art. John Limon appreciates and analyzes the specific practice of stand-up itself, moving beyond theories of the joke, of the comic, and of comedy in general to read stand-up through the lens of literary and cultural theory. Limon argues that stand-up is an artform best defined by its fascination with the abject, Julia Kristeva’s term for those aspects of oneself that are obnoxious to one’s sense of identity but that are nevertheless—like blood, feces, or urine—impossible to jettison once and for all. All of a comedian’s life, Limon asserts, is abject in this sense. Limon begins with stand-up comics in the 1950s and 1960s—Lenny Bruce, Carl Reiner, Mel Brooks, Mike Nichols, Elaine May—when the norm of the profession was the Jewish, male, heterosexual comedian. He then moves toward the present with analyses of David Letterman, Richard Pryor, Ellen DeGeneres, and Paula Poundstone. Limon incorporates feminist, race, and queer theories to argue that the “comedification” of America—stand-up comedy’s escape from its narrow origins—involves the repossession by black, female, queer, and Protestant comedians of what was black, female, queer, yet suburbanizing in Jewish, male, heterosexual comedy. Limon’s formal definition of stand-up as abject art thus hinges on his claim that the great American comedians of the 1950s and 1960s located their comedy at the place (which would have been conceived in 1960 as a location between New York City or Chicago and their suburbs) where body is thrown off for the mind and materiality is thrown off for abstraction—at the place, that is, where American abjection has always found its home.
From Abraham to Saul Bellow, from Moses Maimonides to Woody Allen, from the Balla Shem Tov to Albert Einstein, this comprehensive dictionary of Jewish biographies provides a first point of entry into the richness of the Jewish heritage. With the advice of leading Jewish scholars, the Dictionary of Jewish Biography provides a rapid reference to those Jewish men and women who have, over the last four thousand years, contributed to the life of the Jewish people and the history of the Jewish religion. This dictionary will prove essential for general readers interested in the evolution of Judaism from ancient times to the present day, a perfect study aid for students and teachers.
In the first century AD, Publius Ovidius Naso, the most urbane and irreverant poet of imperial Rome, was banished to a remote village on the edge of the Black Sea. From these sparse facts, one of our most distinguished novelists has fashioned an audacious and supremely moving work of fiction. Marooned on the edge of the known world, exiled from his native tongue, Ovid depends on the kindness of barbarians who impate their dead and converse with the spirit world. But then he becomes the guardian of a still more savage creature, a feral child who has grown up among deer. What ensues is a luminous encounter between civilization and nature, as enacted by a poet who once catalogued the treacheries of love and a boy who slowly learns how to give it.