One year ago, twenty-three-year-old Haleys heart was shattered by the tragic death of her parents. A child of the bayou, she seeks solace in the dark, comforting shadows of her childhood home. There, things make sense. Or at least they used to Late one evening, Haley encounters a strange and beautiful creature in her dreams. She is stunned by the terrifying glory of his pearled black wings and ashen skin, but it is his eyes that have stolen her will to escape. Deep within the mysteries of the diamond eyes of this fallen angel, she knows she is home. A pragmatic woman who does not believe in the seductive magic that swirls inescapably throughout her hometown of New Orleans, Haley brushes the dream offbut she cant stop thinking about him. Elsewhere in New Orleans, another life is distracted by dreams of an impossibly beautiful young woman with rich, raven hair and a sad, wounded soul. In all of his immortal years, the angel-vampire Luke has never seen someone so lovely and so broken. He knows her name is Haley, and he is helpless in his attraction to her. The two dreams become a glorious reality, and love is their reward. When he offers her immortality at his side, she must make the biggest decision of her life. Should she let her mortal life go to be with him? Is she willing to pay the terrible price for eternity at his side?
After Ana Mae Futrell--who, unbeknownst to her family, had won the lottery--passes away, she tasks the surviving members of her family with solving a mystery that she stitched into her quilt, with victor to inherit her fortune.
This book covers the history of theater as well as the literature of America from 1880-1930. The years covered by this volume features the rise of the popular stage in America from the years following the end of the Civil War to the Golden Age of Broadway, with an emphasis on its practitioners, including such diverse figures as William Gillette, Mrs. Fiske, George M. Cohan, Maude Adams, David Belasco, George Abbott, Clyde Fitch, Eugene O’Neill, Texas Guinan, Robert Edmond Jones, Jeanne Eagels, Susan Glaspell, The Adlers and the Barrymores, Tallulah Bankhead, Philip Barry, Maxwell Anderson, Mae West, Elmer Rice, Laurette Taylor, Eva Le Gallienne, and a score of others. Entries abound on plays of all kinds, from melodrama to the newly-embraced realistic style, ethnic works (Irish, Yiddish, etc.), and such diverse forms as vaudeville, circus, minstrel shows, temperance plays, etc. This second edition of Historical Dictionary of American Theater: Modernism covers the history of modernist American Theatre through a chronology, an introductory essay, and an extensive bibliography. The dictionary section has over 2,000 cross-referenced entries on actors and actresses, directors, playwrights, producers, genres, notable plays and theatres. This book is an excellent access point for students, researchers, and anyone wanting to know more about the American Theater in its greatest era.
The 50-year period from 1880 to 1929 is the richest era for theater in American history, certainly in the great number of plays produced and artists who contributed significantly, but also in the centrality of theater in the lives of Americans. As the impact of European modernism began to gradually seep into American theater during the 1880s and quite importantly in the 1890s, more traditional forms of theater gave way to futurism, symbolism, surrealism, and expressionism. American playwrights like Eugene O'Neill, George Kelly, Elmer Rice, Philip Barry, and George S. Kaufman ushered in the Golden Age of American drama. The A to Z of American Theater: Modernism focuses on legitimate drama, both as influenced by European modernism and as impacted by the popular entertainment that also enlivened the era. This is accomplished through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced entries on plays; music; playwrights; great performers like Maude Adams, Otis Skinner, Julia Marlowe, and E.H. Sothern; producers like David Belasco, Daniel Frohman, and Florenz Ziegfeld; critics; architects; designers; and costumes.
The Battle for Welfare Rights chronicles an American war on poverty fought first and foremost by poor people themselves. It tells the fascinating story of the National Welfare Rights Organization, the largest membership organization of low-income people in U.S. history. It sets that story in the context of its turbulent times, the 1960s and early 1970s, and shows how closely tied that story was to changes in mainstream politics, both nationally and locally in New York City.Welfare was one of the most hotly contested issues in postwar America. Bolstered by the accomplishments of the civil rights movement, NWRO members succeeded in focusing national attention on the needs of welfare recipients, especially single mothers. At its height, the NWRO had over 20,000 members, most of whom were African American women and Latinas, organized into more than 500 local chapters. These women transformed the agenda of the civil rights movement and forged new coalitions with middleclass and white allies. To press their case for reform, they used tactics that ranged from demonstrations, sit-ins, and other forms of civil disobedience to legislative lobbying and lawsuits against government officials.Historian Felicia Kornbluh illuminates the ideas of poor women and men as well as their actions. One of the primary goals of the NWRO was a guaranteed income for every adult American. In part because of their advocacy, this idea had a surprising range of supporters, from conservative economist Milton Friedman to liberal presidential candidate George McGovern. However, by the middle 1970s, as Kornbluh shows, Republicans and conservative Democrats had turned the proposal and its proponents into laughingstocks.The Battle for Welfare Rights offers new insight into women's activism, poverty policy, civil rights, urban politics, law, consumerism, social work, and the rise of modern conservatism. It tells, for the first time, the complete story of a movement that profoundly affected the meaning of citizenship and the social contract in the United States.
This single-volume encyclopedia examines the Grand Canyon in depth, from the native peoples who have survived there for centuries to the explorers who charted its vast expanses and to the challenges that Grand Canyon National Park faces. The Grand Canyon is one of the most internationally recognized landscapes and symbols of nature in North America. In this one-volume encyclopedia, readers can dive into the many people, places, stories, and issues associated with the Grand Canyon as well as the scientific, religious, and social contexts of events that have made the Grand Canyon what it is. At the front of the encyclopedia are thematic essays that examine the Grand Canyon's history, geography, and culture. Essays cover topics including John Wesley Powell, to whom the Grand Canyon "belongs," the Native Americans who live at the Grand Canyon, and the future of the Grand Canyon. Following the thematic essays are approximately 150 topical entries focusing on more specific aspects of the Grand Canyon, such as trails and camps, natural formations, and courageous heroes as well as shameless profiteers who have influenced the Grand Canyon's history. The encyclopedia is rounded out by a chronology of human history at the Grand Canyon, a Grand Canyon "at a glance" section, and multiple fact-based sidebars. Through the people, places, and stories explored in this work, readers will gain a better understanding of how the history of the Grand Canyon is relevant to the world today.
Work isn’t what it used to be. Leaders need a field guide that equips them with what to say and do as they face the new culture expectations of today’s employees. Many employees now show up for work not just to do their jobs but also to discover, debate, and digest important social issues. A growing number of workers want to have an impact in the world, and their preferences are a prompt for employers to be more mindful of the role of business in driving societal change, starting with what people experience at work. Felicia Joy and Elena Grotto, experts on behavioral science, business strategy, and organizational culture, share practical guidance to help organizations rise to these new standards by advancing seven behaviors, including the surprising—and perhaps most important—new business skill for high-performing cultures: forgiveness. Managers today are asked to operate as both business leaders and community leaders within the workplace—and the latter skillset is new to many. I Don’t Just Work Here helps managers leverage culture to bolster business results as they replace anxiety with confidence and lead with greater purpose in providing the expanded support employees need to develop and perform. Organizations that take heed, elevate people managers, invest in building a strategic culture, and lead with clear values and behaviors are more likely to have a decisive competitive advantage and greater business impact for years to come.
A woman’s tortured past is reawakened when a twisted murderer strikes close to home in this “original, spellbinding, and horrifying read” (Kirkus Reviews, starred review). Kate is a young woman whose mother is dying of cancer. Gillian is an oversexed, hyper-intellectual who looks like Kate—and is sleeping with Kate’s loathsome stepfather. Jonah is Gillian’s odd but devoted stepbrother—who increasingly matches the description of the rampaging serial killer known as the Doll Collector. Though Kate desperately tries to keep herself together and shut out unwelcome memories, snippets of her family legacy keep resurfacing as the Doll Collector’s body count grows. Are the depraved murders connected to her family’s sordid history? And will Kate be able to confront the horrors of her own past before it’s too late to stop the slaughter? A “haunting and wholly engrossing story of uncommon moral complexity, with prose bright and swift as lightning,” Follow Me into the Dark is a complex, dark expression of a deprived heart and an exploration of the desperate lengths children will go to in order to create family in the wake of abuse (Laura van den Berg, author of Find Me).
Winner of the 2008 Chicago Folklore Prize Felicia R. McMahon breaks new ground in the presentation and analysis of emerging traditions of the “Lost Boys,” a group of parentless youths who fled Sudan under tragic circumstances in the 1990s. With compelling insight, McMahon analyzes the oral traditions of the DiDinga Lost Boys, about whom very little is known. Her vibrant ethnography provides intriguing details about the performances and conversations of the young DiDinga in Syracuse, New York. It also offers important insights to scholars and others who work with refugee groups. The author argues that the playful traditions she describes constitute a strategy by which these young men proudly position themselves as preservers of DiDinga culture and as harbingers of social change rather than as victims of war. Drawing ideas from folklore, linguistics, drama, and play theory, the author documents the danced songs of this unique group. Her inclusion of original song lyrics translated by the singers and descriptions of conversations convey the voices of the young men. Well researched and carefully developed, this book makes an original contribution to our understanding of refugee populations and tells a compelling story at the same time.
A New Perspective for the Use of Dialect in African American Spirituals: History, Context, and Linguistics investigates the use of the African American English (AAE) dialect in the musical genre of the spiritual. Perfect for conductors and performers alike, this book traces the history of the dialect, its use in early performance practice, and the sociolinguistic impact of the AAE dialect in the United States. Felicia Barber explores AAE’s development during the African Diaspora and its correlations with Southern States White English (SSWE) and examines the dialect’s perception and how its weaponization has impacted the performance of the genre itself. She provides a synopsis of research on the use of dialect in spirituals from the past century through the analysis of written scores, recordings, and research. She identifies common elements of early performance practice and provides the phonological and grammatical features identified in early practice. This book contains practical guide for application of her findings on ten popular spiritual texts using the International Phonetic Alphabet (IPA). It concludes with insights by leading arrangers on their use of AAE dialect as a part of the genre and practice.
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Drawing on the recollections of renowned theater critic David Austin Latchaw and on newspaper archives of the era, Londre chronicles the "first golden age" of Kansas City theater, from the opening of the Coates Opera House in 1870 through the gradual decline of touring productions after World War I"--Provided by publisher.
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