The show must go on it's just your stupid illusion ... These are the words of the protagonist of the John Tunner's last novel. In Fletcher's Day he mixed in a masterly fashion history, religion, symbols, and emotions. In this compelling novel Fletcher Cusack is the protagonist of an adventure that takes place mainly in a New York chaotic and full of light, seductive and tempting; The New York show business, apparently cynical and ruthless, where everything is a product to sell, but capable of many surprises. The story begins and draws inspiration from one of the most complex and abysmal masterpieces of literature of all time: the Bible. Fletcher will fight against a terrible opponent, the nature of man, and will face his enemy always among television shows, magic and ominous. Deeper in the folds of the plots drawn from the obscure Sheldon Blackwell, officially judge at the Federal Court of New York, Fletcher will run its course in search of answers, and must decide who to trust ... before the world changes irrevocably. One thing is certain, Fletcher's Day is a book we will deal with our deepest fears.
Register of the Certificates Issued by John Pierce, Esquire, Paymaster General and Commissioner of Army Accounts for the United States, to Officers and Soldiers of the Continental Army Under Act of July 4, 1783
Register of the Certificates Issued by John Pierce, Esquire, Paymaster General and Commissioner of Army Accounts for the United States, to Officers and Soldiers of the Continental Army Under Act of July 4, 1783
One hundred and forty years before Gerda Lerner established women’s history as a specialized field in 1972, a small group of women began to claim American Indian history as their own domain. A Field of Their Own examines nine key figures in American Indian scholarship to reveal how women came to be identified with Indian history and why they eventually claimed it as their own field. From Helen Hunt Jackson to Angie Debo, the magnitude of their research, the reach of their scholarship, the popularity of their publications, and their close identification with Indian scholarship makes their invisibility as pioneering founders of this specialized field all the more intriguing. Reclaiming this lost history, John M. Rhea looks at the cultural processes through which women were connected to Indian history and traces the genesis of their interest to the nineteenth-century push for women’s rights. In the early 1830s evangelical preachers and women’s rights proponents linked American Indians to white women’s religious and social interests. Later, pre-professional women ethnologists would claim Indians as a special political cause. Helen Hunt Jackson’s 1881 publication, A Century of Dishonor, and Alice Fletcher’s 1887 report, Indian Education and Civilization, foreshadowed the emerging history profession’s objective methodology and established a document-driven standard for later Indian histories. By the twentieth century, historians Emma Helen Blair, Louise Phelps Kellogg, and Annie Heloise Abel, in a bid to boost their professional status, established Indian history as a formal specialized field. However, enduring barriers continued to discourage American Indians from pursuing their own document-driven histories. Cultural and academic walls crumbled in 1919 when Cherokee scholar Rachel Caroline Eaton earned a Ph.D. in American history. Eaton and later Indigenous historians Anna L. Lewis and Muriel H. Wright would each play a crucial role in shaping Angie Debo’s 1940 indictment of European American settler colonialism, And Still the Waters Run. Rhea’s wide-ranging approach goes beyond existing compensatory histories to illuminate the national consequences of women’s century-long predominance over American Indian scholarship. In the process, his thoughtful study also chronicles Indigenous women’s long and ultimately successful struggle to transform the way that historians portray American Indian peoples and their pasts.
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