Thirty-six years after Nell buried her husband, and a few secrets with him, Nell's daughter Kate plans to pipe water from a huge aquifer under the family ranch to Las Vegas and Nell's granddaughter Cassie tries to repair the family.
With tough women and sensitive men, desert–dry humor, hot–springs sensuality, heartbreaking secrets, escalating suspense, and a 360–degree perspective on the battle over water, Richman's twenty–first–century western is riveting, wise, and compassionate." —BOOKLIST, starred review When Nell Jorgensen buried her husband, she buried a piece of herself—and more than one secret. Now, thirty–six years later, the rift between Nell and her daughter Kate threatens to implode as Kate, now forty–six and a water manager for the Nevada Water Authority, plans to pipe water from a huge aquifer that lies beneath the family ranch to thirsty Las Vegas. Meanwhile, Nell's twenty–one–year–old granddaughter Cassie intends to unearth those old secrets and repair the resentments that grew in their place. Throughout the novel, sparse and beautiful landscapes surround an emotional wilderness of love, loss, and family. Jana Richman is the award–winning author of The Last Cowgirl, which won the 2009 Willa Award for Contemporary Fiction. A sixth–generation Utahn, Jana was born and raised in Utah's west desert, the daughter of a small–time rancher and a hand–wringing Mormon mother. With the exception of a few misguided years spent in New York City trying to make a fortune on Wall Street, she has lived her entire life west of the hundredth meridian. She writes about issues that threaten to destroy the essence of the West—and about passion, beauty, and love. Jana lives in Escalante, Utah.
How is the life-altering event of migration narrated for children, especially if it was caused by Anti-Semitism and poverty? What of the country of origin is remembered and what is forgotten, and what of the target country when the migration is imagined there a century later? Looking Forward, Looking Back examines today’s representation of Jewish mass migration from Eastern Europe to America around the turn of the last century. It explores the collective story that emerges when American authors look back at this exodus from an Eastern European home to a new one to be established in America. Focusing on children’s literature, it investigates a wide range of texts including young adult literature as well as picture books and hence sheds light on the dynamics of the verbal and the visual in generating images of the self and other, the familiar and the strange. This book is of interest to scholars in the field of imagology, children’s literature, cultural studies, American studies, Slavic studies, and Jewish studies.
Jana Evans Braziel examines how Haitian diaspora writers, performance artists, and musicians address black masculinity through the Haitian Creole concept of gwo nègs, or "big men." She focuses on six artists and their work: writer Dany Laferrière, director Raoul Peck, rap artist Wyclef Jean, artist Jean-Michel Basquiat, drag queen performer and poet Assotto Saint, and queer drag king performer Dréd (a.k.a. Mildréd Gerestant). For Braziel, these individuals confront the gendered, sexualized, and racialized boundaries of America's diaspora communities and openly resist "domestic" imperialism that targets immigrants, minorities, women, gays, and queers. This is a groundbreaking study at the intersections of gender and sexuality with race, ethnicity, nationality, and diaspora.
Dickie Sinfield was seven years old when her father uprooted the family from their comfortable suburban home and moved them to a small, run-down ranch in Clayton, Utah, where he could chase his dream of being a cowboy. Dickie always hated the cattle-ranching lifestyle, and as soon as she turned eighteen she fled for the comforts of the city. Now a grown woman, a respected journalist in Salt Lake City, Dickie is coming home following the tragic, accidental death of her brother. Suddenly back in the farmhouse she was once so desperate to abandon—emotionally exposed by, yet reluctantly drawn to the vast, desolate landscape and the solitude it offers—she must confront her family's past . . . and the horrifying discovery at the pivotal moment of her childhood that ultimately forced her to run from the desert. Spanning two generations and vast landscapes, a novel that fans of Pam Houston and Barbara Kingsolver will eagerly embrace, Jana Richman's The Last Cowgirl will strike a powerful chord with anyone who has ever searched for solace in the space around them.
The anatomy of water, water as a substance, water as a medium, the principles of the hydrologic cycle, the economics of water, and challenges are all covered in the first chapter of this book. The horizon of the tropical world, the environment, particularly the tropical environment, aquatic biome, tropical aquatic bionetwork, concept of biosphere, and tropical limnology are all covered in the second chapter. The third chapter covers the following topics: the origins of lakes, general lake classification, tropical lakes, lake morphometry, morpho-edaphic index, trophic status index of lakes, wetlands, and mangroves in tropical regions. The lotic environment is the main topic of the fourth chapter, which also covers the idea of stream order, the differences between rivers and streams, the river continuum, physical, chemical, and biological characteristics, and adaptations of fish found in hill streams. Chapter five covers the prokaryota, cyanobacteria, freshwater biota, and water-adapted organisms. The sixth chapter focuses on the algal communities Xanthophyceae, Euglenophyceae, Bacillariophyceae, Chrysophyceae, Phaeophyceae (brown algae), and Chlorophyceae. The seventh and last chapter covers the following topics: Protozoa, Porifera, Rotifera, Coelenterata, Annelida, Arthropoda, Crustacea, Aquatic Insects, Mollusca, Echinodermata, and Brachiopodaa.
“This book shows how using business as a force for good, not just pursuing short-term profits, can be better for consumers, employees, local communities, the environment, and your company's long-term bottom line.” —Tony Hsieh, New York Times bestselling author of Delivering Happiness and CEO, Zappos.com, Inc. B Corps are a global movement of more than 2,700 companies in 60 countries—like Patagonia, Ben & Jerry's, Kickstarter, Danone North America, and Eileen Fisher—that are using the power of business as a force for good. B Corps have been certified to have met rigorous standards of social and environmental performance, accountability, and transparency. This book is the authoritative guide to the what, why, and how of B Corp certification. Coauthors Ryan Honeyman and Dr. Tiffany Jana spoke with the leaders of over 200 B Corps from around the world to get their insights on becoming a Certified B Corp, improving their social and environmental performance, and building a more inclusive economy. The second edition has been completely revised and updated to include a much stronger focus on diversity, equity, and inclusion (DEI). These changes are important because DEI can no longer be a side conversation—it must be a core value for any company that aspires to make money and make a difference. While this book is framed around the B Corp movement, any company, regardless of size, industry, or location, can use the tools contained here to learn how to build a better business. As the authors vividly demonstrate, using business as a force for good can help you attract and retain the best talent, distinguish your company in a crowded market, and increase trust in your brand.
This study focuses on street art and large-scale murals in metropolitan Miami/Dade County, while also foregrounding the diasporic and aesthetic interventions made by migrant and second-generation artists whose families hail from the Caribbean and Latin America. Jana Evans Braziel argues that Caribbean and Latinx street artists define and visually mark the city of Miami as a diasporic, transnational urban space. These artists also help define Miami as a cosmopolitan city, yet one that is also a distinctly Caribbean and Latinx urban space, and simultaneously resist but also (at times reluctantly) participate in the forces of gentrification and urban re/development, particularly through the myriad and complex ways in which street art contributes to city branding and art tourism. The book will be of interest to scholars working in art history, urban studies, American studies, and Latin American/Caribbean studies.
On the southern end of the Grand Rue, a major thoroughfare that runs through the center of Port-au-Prince, waits the Haitian capital's automobile repair district. This veritable junkyard of steel and rubber, recycled parts, old tires, and scrap metal might seem an unlikely foundry for art. Yet, on the street's opposite end thrives the Grand Rue Galerie, a working studio of assembled art and sculptures wrought from the refuse. Established by artists André Eugène and Jean Hérard Celeur in the late 1990s, the Grand Rue's urban environmental aesthetics--defined by motifs of machinic urbanism, Vodou bricolage, the postprimitivist altermodern, and performative politics--radically challenge ideas about consumption, waste, and environmental hazards, as well as consider innovative solutions to these problems in the midst of poverty, insufficient social welfare, lack of access to arts, education, and basic needs. In Riding with Death, Jana Evans Braziel explores the urban environmental aesthetics of the Grand Rue sculptors and the beautifully constructed sculptures they have designed from salvaged automobile parts, rubber tires, carved wood, and other recycled materials. Through first-person accounts and fieldwork, Braziel constructs an urban ecological framework for understanding these sculptures amid environmental degradation and grinding poverty. Above all, Braziel presents Haitian artists who live on the most challenged Caribbean island, yet who thrive as creators reinventing refuse as art and resisting the abjection of their circumstances.
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