Jonathan has a very unusual dog. It likes to go to the park, watch TV, and eat toast crumbs. And it's invisible. When the entire family - including Dog, of course - visit Grandma one day, Jonathan spots a photo of a cat. The cat, says Grandma, was hers, but the cat died, and Grandma's apartment won't let allow pets. The next day, Dog is gone. Jonathan explains to his family that he left Dog at Grandma's to keep her company... and it's okay if she calls him Cat. Inspired by the author's real-life children, who had their own invisible dog when they were young.
A Village in the Shadows is about survivors from the American Revolution who remained loyal to King George III. At the start of the revolution in 1776, families began to lose their homes, farms and businesses. They wanted to continue their old way of life under the orderly laws and security of the British Crown they had known in pre-revolutionary times. This type of government was being promised in Canada. A British Crown farming/resettlement program was implemented for families to grow grain and raise cattle on the west side of the Niagara River. Below the Escarpment, on the Niagara Peninsula, a Loyalist settlement developed at the intersection of two ancient Native trails. The settlement eventually became known as the village of St Davids. Its remarkable story started when Loyalist settlers arrived in the early 1780s. They became tenants of the land and laid down new roots. In 1812, they were once again beset by war. They had to defend their families from constant danger and they survived an incendiary attack by American Soldiers in 1814. Once more they had to rebuild their lives and businesses. Today, St Davids proud history is evident in its heritage homes, churches and burial grounds where many of the graves of the early settlers can be found.
Deep in Our Hearts is an eloquent and powerful book that takes us into the lives of nine young women who came of age in the 1960s while committing themselves actively and passionately to the struggle for racial equality and justice. These compelling first-person accounts take us back to one of the most tumultuous periods in our nation’s history--to the early days of the Student Nonviolent Coordinating Committee (SNCC) and Students for a Democratic Society (SDS), the Albany Freedom Ride, voter registration drives and lunch counter sit-ins, Freedom Summer, the 1964 Democratic Convention, and the rise of Black Power and the women’s movement. The book delves into the hearts of the women to ask searching questions. Why did they, of all the white women growing up in their hometowns, cross the color line in the days of segregation and join the Southern Freedom Movement? What did they see, do, think, and feel in those uncertain but hopeful days? And how did their experiences shape the rest of their lives?
Today, Shepherd University is recognized for its outstanding programs in liberal arts, business administration, computer and natural sciences, and professional studies. In 1871, the school opened its doors to 42 students who were guided under the leadership of its first principal, Joseph McMurran. The West Virginia Legislature passed an act in February 1872 to establish a branch of the state normal school for teacher training at Shepherd. Teacher education remained the cornerstone of Shepherd University for more than a century. This pictorial history presents how academics, athletics, and student life transformed over the decades to educate a diverse student body in more than 60 undergraduate programs and five graduate programs.
Although theories of exploitation and subversion have radically changed our understanding of gender in Renaissance literature, to favour only those theories is to risk ignoring productive exchanges between 'masculine' and 'feminine' in Renaissance culture. 'Appropriation' is too simple a term to describe these exchanges - as when Petrarchan lovers flirt dangerously with potentially destructive femininity. Spenser revises this Petrarchan phenomenon, constructing flirtations whose participants are figures of speech, readers or narrative voices. His plots allow such exchanges to occur only through conditional speech, but this very conditionality powerfully shapes his work. Seventeenth-century works - including a comedy by Jane Cavendish and Elizabeth Brackley, and Upon Appleton House by Andrew Marvell - suggest that the civil war and the upsurge of female writers necessitated a reformulation of conditional erotics.
Born into the famous family of piano makers, Lucy Broadwood (1858-1929) became one of the chief collectors and scholars of the first English folk music revival in the late nineteenth and early twentieth centuries. Privately educated and trained as a classical musician and singer, she was inspired by her uncle to collect local song from her native Sussex. The desire to rescue folk song from an aging population led to the foundation of the Folk Song Society, of which she was a founder member. Mentor to younger collectors such as Percy Grainger but often at loggerheads with fellow collector Cecil Sharp and the young Ralph Vaughan Williams, she eventually ventured into Ireland and Scotland, while remaining an eclectic contributor and editor of the Society’s Journal, which became a flagship for scholarly publication of folksong. She also published arrangements of folk songs and her own compositions which attracted the attention of singers such as Harry Plunket Greene. Using an array of primary sources including the diaries Broadwood kept throughout her adult life, Dorothy de Val provides a lively biography which sheds new light on her early years and chronicles her later busy social, artistic and musical life while acknowledging the underlying vulnerability of single women at this time. Her account reveals an intelligent, generous though reserved woman who, with the help of her friends, emerged from the constraints of a Victorian upbringing to meet the challenges of the modern world.
A collection of essays based on Smith's unique rebel sociology. Smith turns wit and common sense on the prevailing discourses of sociology, political economy, and popular culture to inquire directly into the actualities of peoples' lives.
American feminism has always been about more than the struggle for individual rights and equal treatment with men. There's also a vital and continuing tradition of women's reform that sought social as well as individual rights and argued for the dismantling of the masculine standard. In this much anticipated book, Dorothy Sue Cobble retrieves the forgotten feminism of the previous generations of working women, illuminating the ideas that inspired them and the reforms they secured from employers and the state. This socially and ethnically diverse movement for change emerged first from union halls and factory floors and spread to the "pink collar" domain of telephone operators, secretaries, and airline hostesses. From the 1930s to the 1980s, these women pursued answers to problems that are increasingly pressing today: how to balance work and family and how to address the growing economic inequalities that confront us. The Other Women's Movement traces their impact from the 1940s into the feminist movement of the present. The labor reformers whose stories are told in The Other Women's Movement wanted equality and "special benefits," and they did not see the two as incompatible. They argued that gender differences must be accommodated and that "equality" could not always be achieved by applying an identical standard of treatment to men and women. The reform agenda they championed--an end to unfair sex discrimination, just compensation for their waged labor, and the right to care for their families and communities--launched a revolution in employment practices that carries on today. Unique in its range and perspective, this is the first book to link the continuous tradition of social feminism to the leadership of labor women within that movement.
An attempt to cover all aspects of children's make-believe. The authors examine how imaginative play begins and develops and provide examples and evidence on the young child's invocation of imaginary friends, the adolescent's daring games and the adult's private imagery and inner thought.
Adam Clark found a mouse in his kitchen and named it Speedy Sam. But now his mother is threatening to set a trap and Adam must find a way to save his new friend.
My purpose for writing Dorothys Poetry was to share the feelings that words alone could not express. My inner pain was louder than my thoughts. I wanted to just yell, but who would hear me? Poetry was my way of letting others who were suffering as I knowing that no matter that God requests what you have or dont have, you need to press on.I had twelve weak evil spirits inside. Now my confidential blood lamb runs victory daily. My book helped me afraid, trembled, and annoyed and fearless reassurance lifted my spirits. Helpful are firm and worthy goals, beliefs and wishes those achievement wet and day seasons. Moreover, I wanted realize some times if I answerability the reasons for mistakes. I do inner pain is inside my book and reading over all over again. My poetry is about my journey within and the empowerment I received, by taking my healing out of mans hand and trusting God for my total healing. What you are about to read is my story, and through it I hope you will accept that there is only one creator. And his spirit and energy lives within us all.
The long-lasting effects of leprosy are still evident in various parts of the world. This book details the personal experiences of people in Fiji, New Caledonia, Samoa, Tonga and Vanuatu, the majority of whom contracted leprosy as children. It recounts how the victims were subject to prolonged isolation in various leprosaria as the first effective cure for leprosy only became available after 1949. Oral histories are utilized and verbatim extracts demonstrate the level of stigma experienced by these young people. Topics covered include the exact nature of the diagnosis, removal from one's family, the experience of isolation, and the reaction of family and villages upon the individual's return to community life.
With this eye-opening autobiography, one of Hollywood's most durable personalities reveals a surprisingly dramatic private life that's scarcely suggested by her glamorous screen image. The exotic costumes of the Road pictures hid a woman of extraordinary versatility: beauty contest winner, comedienne, radio star, fashion model, nightclub singer, vaudeville trouper, war bond saleswoman, dramatic actress, musical comedy star, divorcee, stuntwoman--and dedicated wife and mother. Few movie buffs know that Dorothy Lambour was voted Miss New Orleans only after a successful tour on the Fanchon and Marco circuit--only to wind up running an elevator for a living. She sang with Rudy Vallee and Herbie Kay (who became her first husband)--and was one of the most reluctant stars Hollywood ever created. She never accepted Louis B. Mayer's offer of a screen test. Cast as star of her first film, The Jungle Princess, she was mortified by her sarong costume, her appearance in the rushes, and by the outrageous publicity Paramount created to launch her career. She hit her stride during Hollywood's heyday, when off-camera events often eclipsed what the public saw on screen. Here she reveals her experiences with co-workers like Betty Grable, John Wayne, Jack Oakie, Fred MacMurray, Anthony Quinn, Ray Milland, Alan Ladd, Mae West, Cecil B. DeMille, Carole Lombard, John Ford and Robert Preston. Why The Hurricane's crew held a grudge against Jon Hall, and how they exacted their revenge; how love scenes with William Holden and Tyrone Power were ruined by an appendectomy and a whoopee cushion, respectively; the violent and oft-censored behavior of her chimpanzee co-stars; how she doffed her sarong for serious dramatic roles in Wild Harvest, Manhandled, and A Medal for Benny; the inspired wisecrackery on Bing, Bob, and Dorothy's first Road to Singapore, the bitter wrangles over the final Road to Hong Kong--and the name of the woman identified as Dorothy Lamour at Crosby's funeral. After her wartime marriage to Air Corps Lieutenant William Howard, she raised two sons while expanding her career into personal appearances, nightclubs, and the legitimate theater. Even as her film career seemed to dim, she appeared at the London Palladium and later undertook a grueling national tour in the title role of Hello, Dolly! Now, she shares the tragic story of her husband's final illness, and her resolve to keep on fulfilling her duties to her public, her family--and ultimately, to herself. Illustrated with photographs from her personal collection, this is the self-portrait of an artist whose rare honesty and character, warmth and courage have, until now, been known only to a privileged few.--From dust jacket.
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