The first book-length treatment of the nature of prison culture among women in thirty years, "In the Mix" describes the prison culture in a large California prison, from the point of view of the women themselves. Based on three years of study, including participant-observation, in-depth interviews and surveys, this book describes the daily life of the prison from a variety of perspectives, with an emphasis on the gendered nature of its social organization, roles and normative frameworks. The title, "In the Mix," describes the contours of prison culture and its themes of trouble, programming and relationships. Common themes, such as the impact of substance use, limited economic opportunity, patriarchy, survival on the streets and in the prison, thread through the individual chapters. Owen argues that prison culture for women is tied directly to the role of women in society as well as a dynamic social structure that is shaped by the conditions of women's lives in prison and in the "free world.
Each part starts with a brief description of the political and religious climate of the period and the way such factors affected the compositions and the organ-building of the time.
Cover -- Contents -- Acknowledgments -- 1. Intersectional Inequality and Women's Imprisonment -- 2. Pathways and Intersecting Inequality -- 3. Prison Community, Prison Conditions, and Gendered Harm -- 4. Searching for Safety through Prison Capital -- 5. Inequalities and Contextual Conflict -- 6. Intersections of Inequality with Correctional Staff -- 7. Gendered Human Rights and the Search for Safety -- Appendix 1: Methodology -- Appendix 2: Tables of Findings -- Glossary -- B -- C -- D -- F -- G -- I -- J -- H -- J -- K -- L -- N -- O -- P -- R -- S -- T -- U -- W -- Bibliography -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- R -- S -- T -- U -- V -- W -- Y -- Z
An amazing secret has tumbled off a freight train into Carter, Georgia, and Owen Jester is the only person who knows about it. If he can simply manage to evade his grandfather's snappish housekeeper, organize his two best friends, and keep his nosy neighbor, Viola, at bay, he just might be in for the summer of a lifetime. With her trademark wit and easy charm, Barbara O'Connor spins a fantastic fable of friends, enemies, and superbly slimy bullfrogs. This title has Common Core connections.
Influenced by Robert and Clara Schumann and Joseph Joachim, Johannes Brahms not only learned to play the organ at the beginning of his career, but also wrote significant compositions for the instrument as a result of his early counterpoint study. He composed for the organ only sporadically or as part of larger choral and instrumental works in his subsequent career. During the final year of his life, however, he returned to pure organ composition with a set of chorale preludes--though many of these are thought to have been revisions of earlier works. Today, the organ works of Johannes Brahms are recognized as beautifully-crafted compositions by church and concert organists across the world and have become a much-cherished component of the repertoire. Until now, however, most scholarly accounts of Brahms's life and work treat his works for the organ as a minor footnote in his development as a composer.Precisely because the collection of organ works is not extensive, the pieces--composed at different times during Brahms's lifetime--help to map his path as a composer, pinpointing various stages in his artistic development. In this volume, Barbara Owen offers the first in-depth study of this corpus, considering Brahms's organ works in relation to his background, methods, and overall artistic development, his contacts with organs and organists, the influence of his predecessors and contemporaries, and analyses of each specific work and its place in Brahms's career. Her expert history and analysis of Brahms's individual organ works and their interpretation also investigates contemporary practices relative to the performance of these pieces. The book's three valuable appendices present a guide to editions of Brahms's organ works, a discussion of the organ in Brahms's world that highlights some organs the composer would have heard, and a listing of the organ transcriptions of Brahms's work.Blending unique insights into composition and performance practice, this book will be read eagerly by performers, students, and scholars of the organ, Brahms, and the music of the Nineteenth Century.
Calling to mind Basho¯’s late life journeys through the backcountry of Japan, two women poets in a well-worn Honda hit the road for a legendary pilgrimage in a far-flung (pre-pandemic) landscape of American poetry. Although a road trip across North American calls to mind Jack Kerouac’s youthful meanderings of self-discovery, this reading tour was more in the manner of Basho¯’s late life journeys through the backcountry of Japan. . . . The road trip was in a sense a pilgrimage of reengagement with their calling as poets, and a chance to reacquaint with like-minded friends, old and new, in a far-flung landscape of American poetry. Venues would include upscale bookstores, coffee houses, museums, legendary used bookstores, botanical gardens, university classrooms, art centers, and artist coops—in short, a unique sampling of poetry environments tracing an arc across the Southern States, the Southwest, and up the West Coast before hooking back to the Rockies. Framed as a personal challenge, the poets hit the road much in the manner of itinerant preachers and musicians, lodging at discount motels, funky hostels, Airbnbs, and with friends along the way. Adding a social media touch, Maureen and Barbara created a blog of their tour so that friends, family, hosts, and fellow poets might also share in their adventure. —from the Introduction by Pat Nolan
During the 19th century, Boston and its vicinity became a major center for the building of pipe organs. The firm of E. & G.G. Hook was founded in 1827 by Elias Hook (1805-1881) and George G. Hook (1807-1880), sons of a Salem cabinetmaker, and later known as Hook & Hastings after Francis H. Hastings (1836- 1916) became a partner in 1871. It had the distinction of eventually becoming not only the longest lasting but also the most prolific among a worthy group of Boston organ builders during every period of its existence.
This collection of prayer devotions, based on the author's own experiences and her many conversations with women who have gone through the difficult times of separation and divorce, deals with such issues as child care, guilt, jealousy, holidays, and money.
White Self-Criticality beyond Anti-racism powerfully emphasizes the significance of humility, vulnerability, anxiety, questions of complicity, and how being a “good white” is implicated in racial injustice. This collection sets a new precedent for critical race scholarship and critical whiteness studies to take into consideration what it means specifically to be a white problem rather than simply restrict scholarship to the problem of white privilege and white normative invisibility. Ultimately, the text challenges the contemporary rhetoric of a color-blind or color-evasive world in a discourse that is critically engaging and sophisticated, accessible, and persuasive.
In the middle of the nineteenth-century, American organbuilding reached a milestone when, in 1863, in the midst of the Civil War, a large concert organ - really the first of its kind in the country - was opened in Boston's relatively-new Music Hall. Visually and musically it was regarded as a sensation, as it put a stamp of approval on paid-admission secular organ recitals, and quickly opened the door to a spate of American-built concert hall organs. The composition of large-scale secular organ works soon followed, written by American composers recently returned from study in European conservatories.This is the story of that catalytic instrument, known then and now as the Great Organ: its checkered history, and, perhaps most intriguingly, the varied and colorful cast of characters who conceived and financed it, built and rebuilt it, played it, made recordings on it, wrote about it, maintained it, rescued it from time to time, and continue to ensure that its voice continues to be heard. The Great Organ is now housed in its present purpose-built concert hall, north of Boston in the town of Methuen, Massachusetts. How it got there and how it remained there is only a part of its story.
Directed towards girls, presents Bible and contemporary stories, activities, suggested readings, and prayers relating to siblings, gossip, death, friendship, love, and other topics.
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