Neisha Thompson, a popular cheerleader, has a crush on major player, Marcus Hamilton. Everything about Marcus screams want-able, and Neisha wants everything to do with him. But when she notices that one of the sluttiest girls at Wilson High, Lynda Andrews, also has a thing for Marcus Hamilton, the competition starts. Even though these two girls have real feelings for him, Marcus wants nothing more than to make these girls his next conquests. Neisha and Lynda will end up having to decide if they're willing to go all the way with this player to win his heart. Things get even more complicated when Marcus begins to really care for Neisha, but the player in him wants to continue seeing how long this love triangle will last until only one girl becomes victorious. Filled with steamy hook-ups, high school drama, and realistic situations that will have you turning page after page.
Funny man Allen Rivera wants to change his reputation from class clown to sophomore heartthrob in order to gain the attention of the gorgeous Carmen Sanchez. Allens popular friend Torean Hudson has never had a problem gaining the attention from girls, so he volunteers to turn Allen into a ladies man. Little did Torean expect, Allens new found popularity has put Torean in danger of losing his title as the number one player at Wilson High. As jealousy flares and competition arises, the two friends are now in a complicated and possibly heartbreaking position. How far are they willing to go in order to be the number one ladies man at Wilson High?
Comparing three different versions of the UN Declaration on the Rights of Indigenous Peoples (DRIP), Indigenous Nations' Rights in the Balance analyses the implications of the changes made to DRIP for Indigenous Peoples and Nations. This is a foundational text for Indigenous law and rights and the global struggle of Indigenous Peoples in the face of modern states. Between 1994 and 2007, three different versions of the Declaration on the Rights of Indigenous Peoples were passed by various bodies of the United Nations, culminating in the final version passed by the UN General Assembly. Significant differences exist between these versions--differences that deeply affect the position of all Indigenous Peoples in the world community. In Indigenous Nations' Rights in the Balance, Charmaine White Face gives her well-researched comparative analysis of these versions. She puts side-by-side, for our consideration, passages that change the intent of the Declaration by privileging the power and jurisdiction of nation states over the rights of Indigenous Peoples. As Spokesperson representing the Sioux Nation Treaty Council in UN proceedings, she also gives her insights about each set of changes and their ultimate effect."--Publisher's description.
Charmaine A. Nelson analyzes not only how, where, why and by whom black female subjects have been represented in Western art, but also what the social and cultural impacts of the colonial legacy of racialized western representation have been. She poses critical questions about the contexts of production, the problems of representation, the pathways of circulation and the consequences of consumption.
This book focuses on twentieth-century Australian leprosaria to explore the lives of indigenous patients and the Catholic women missionaries who nursed them. Distinguished from previous historical studies of leprosy, the book examines the care and management of the incarcerated, enabling a broader understanding of their experience, beyond a singular trope of banishment, oppression and death. From the 1930s until the 1980s, respective governments appointed the trained sisters to four leprosaria across remote northern Australia, where almost two thousand people had been removed from their homes and detained under law for years - sometimes decades. The book traces the sisters’ holistic nursing from early efforts of amelioration and palliation to their part in the successful treatment of leprosy after World War II. It reveals the ways the sisters stepped out of their assigned roles and attempted to shape the institutions as places of health and hygiene, of European culture and education, and of Christianity. Making use of accounts from patients, doctors; bureaucrats; missionary men; and Indigenous families and communities, the book offers fresh perspectives on two important strands of history. First, its attention to the day-to-day work of the Australian sisters helps to demystify leprosy healthcare by female missionaries, generally. Secondly, with the sisters specifically caring for Indigenous people, this book exposes the institutional practices and goals specific to race relations of both the Australian government and Catholic missionaries. An important and timely read for anyone interested in Indigenous history, medical history and the connections between race, religion and healthcare, this book contextualizes the twentieth-century leprosy epidemic within Australia's broader colonial history.
Alfred Fredrick John Knight was born in Yeovil to his mother Amelia and father George. When Alfred was three years old, George his father left Amelia telling her that he was taking their son Alfred with him. George took Alfred and in secret eloped with his lover to Wales. Alfred was later adopted and lived with his adopted family talking to the family about emigrating to Canada. He told his family that he wanted to stay in England and try and find his birth mother. He left home and went back to Yeovil, but there was no trace of his mother, he did manage to find his grandmother Mary, who was still alive. While looking for a job, he saw a sign which read, ‘YOUR COUNTRY NEEDS YOU!’ Alfred then decided that he wanted to become a soldier and join the British Army. After joining up with Prince Albert’s light infantry, the Somerset Light Infantry was sent out to India to fight the rebellion. Will Alfred ever find his birth mother?
Nineteenth-century neoclassical sculpture was a highly politicized international movement. Based in Rome, many expatriate American sculptors created works that represented black female subjects in compelling and problematic ways. Rejecting pigment as dangerous and sensual, adherence to white marble abandoned the racialization of the black body by skin color. In The Color of Stone, Charmaine A. Nelson brilliantly analyzes a key, but often neglected, aspect of neoclassical sculpture--color. Considering three major works--Hiram Powers's Greek Slave, William Wetmore Story's Cleopatra, and Edmonia Lewis's Death of Cleopatra--she explores the intersection of race, sex, and class to reveal the meanings each work holds in terms of colonial histories of visual representation as well as issues of artistic production, identity, and subjectivity. She also juxtaposes these sculptures with other types of art to scrutinize prevalent racial discourses and to examine how the black female subject was made visible in high art. By establishing the centrality of race within the discussion of neoclassical sculpture, Nelson provides a model for a black feminist art history that at once questions and destabilizes canonical texts. Charmaine A. Nelson is assistant professor of art history at McGill University.
I sit by your bed and watch you, as I sometimes do. There are days when you are so beautiful and vivacious and alive, we cannot believe that you are going to die. Other days, we are convinced you are at death's door and that this, this is the day that we will lose you … Now I bear witness to the disease that is eating you up alive, ravaging your physical shell. I look at your wasted body, once so slim and graceful; at the jaundiced pallor of your once perfect skin stretched tight around the still lovely bones of your face; at the way shadows collect in the hollows around your eyes and your collarbones. And very slowly, inside me, something small starts to crack. A tiny fissure that spreads and widens, before splitting open entirely to let something hot and liquid well up like molten lava, threatening to spill out the sides of my mouth, as rich and bitter and metallic as blood. Is this then what heartbreak feels like? * The Magic Circle tells the story of what happens when Charmaine Chan’s sister Elaine is diagnosed with a rare and aggressive cancer. As the illness progresses, family members living on different continents gather together during Elaine’s last days. Striving to distract Elaine from the worst effects of the cancer, Charmaine takes to the pen: conjuring up the vanished world of their childhood in Singapore, and discovering a way to keep her promise to Elaine’s six-year-old daughter. A contemplation on grief and loss, nostalgia and yearning, The Magic Circle is for anyone who’s been torn apart and put back again by the inexplicable power of memory.
Shortlisted for the ALS Gold Medal 2019 ‘A gentle whisper from the past Visits me in my dreams Or is it the future that I see ... ’ From well-known poets John Kinsella and Charmaine Papertalk-Green comes a tête-à-tête that is powerful, thought provoking, and challenges what we think we know about our country, colonisation, and how we understand our land. Striking conversations surrounding childhood, life, love, mining, death, respect, and diversity; imbued by silken Yamatji sensibility and sublimely responded to by the son of a foreman from South Champion Mine. This extraordinary publication weaves two differing points of view together as Papertalk-Green and Kinsella’s words traverse this land and reflect back to us all, our many identities and quiet voices.
Charmaine Addresses something that comes to us all, and to all our loved ones, and which we are very ill equipped to handle; death, the end of life, or the passing from one state, which we know, to another, which we cannot know. A near death experience, and the existence and reality of these experiences is well attested and undoubted, is a great and impressive glimpse behind the veil, and into another, truer reality than that of every day. Charmaine has the ability to communicate, and her writing is clear and lucid. She deals sensitively and perceptively with what can be a difficult subject. Behind her veil, is a brighter, vibrant, living truth. From her journey she has brought back much of value, a golden treasure, and she shares this . Many of us would dearly wish to pierce, however little, the veil that hides us from other worlds, and to see what else is there. This book is one that helps us understand a little more the strange ways of creation.
Anyone who says “you never get a second chance to make a first impression” never counted on love's say in the matter.Single women often dream about the cute meet with Mr. Right. Everything will be perfect—hair, make-up, nails, clothes—all presented with a dazzling smile guaranteed to stop her hero dead in his tracks.But what if the cute meet is not so cute? What if it's so embarrassing that bungee-jumping dressed in a bacon-scented bikini above a swamp full of alligators seems more appealing? Such is the premise for the romantic comedy series, She Just Had to Meet Him When…Stuck on LoveIn the first book of the series, the first time Roxy Duiguid meets Chuck Wesley, she's stuck in a compromising position. But when the embarrassing incident goes viral, Roxy blames Chuck. Can love cure Roxy's humiliation or will pride condemn her to a life of loneliness?
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