Judith Lomax was born into a world of emerging Evangelical fervor and tightly prescribed gender roles. Her own unique vision of evangelical Christian faith and the strength it instilled shaped her life. A record of her experience as an independent Southern woman in a patriarchal religious and social culture survives in the form of a devotional journal covering her mature years, 1819-1827. Journal entries include reflections on sermons, accounts of worship rituals, tales of life among her circle of evangelical companions, theologically dense religious poetry, and intimate devotional meditations which sprang from her personal and communal religious experience. Witty, thoughtful, and persistent, she lived as an individual bereft of traditional earthly attachments and support, yet bolstered by her complete devotion to evangelical Christianity and to her "Heavenly Bridegroom.
In Wraith, New York Times bestselling Reeves-Stevens team offer a no-holds-barred adrenaline rush perfect for fans of high-speed thrillers. In 1995, the CIA made a breakthrough that they hid from the world because it would change everything in modern science—but some secrets can't stay hidden. A rogue force has learned how to make disembodied minds capable of lethal action. Ghosts have been weaponized, and now a Russian general has infiltrated the U.S. with a squad of "berzerkers"—an army that can't be killed because they're already dead. Only one person knew the general's plans, but she died in a car crash. The only person who can communicate with her is the cop who was at her side when she died—and now he must race to stop a force that could end life as we know it.
A son of poor Jamaican immigrants who grew up in Depression-era Harlem, Harry Belafonte became the first black performer to gain artistic control over the representation of African Americans in commercial television and film. Forging connections with an astonishing array of consequential players on the American scene in the decades following World War II—from Paul Robeson to Ed Sullivan, John Kennedy to Stokely Carmichael—Belafonte established his place in American culture as a hugely popular singer, matinee idol, internationalist, and champion of civil rights, black pride, and black power. In Becoming Belafonte, Judith E. Smith presents the first full-length interpretive study of this multitalented artist. She sets Belafonte's compelling story within a history of American race relations, black theater and film history, McCarthy-era hysteria, and the challenges of introducing multifaceted black culture in a moment of expanding media possibilities and constrained political expression. Smith traces Belafonte's roots in the radical politics of the 1940s, his careful negotiation of the complex challenges of the Cold War 1950s, and his full flowering as a civil rights advocate and internationally acclaimed performer in the 1960s. In Smith's account, Belafonte emerges as a relentless activist, a questing intellectual, and a tireless organizer. From his first national successes as a singer of Calypso-inflected songs to the dedication he brought to producing challenging material on television and film regardless of its commercial potential, Belafonte stands as a singular figure in American cultural history—a performer who never shied away from the dangerous crossroads where art and politics meet.
Ruth Crawford Seeger (1901-1953) is frequently considered the most significant American female composer in this century. Joining Aaron Copland and Henry Cowell as a key member of the 1920s musical avant-garde, she went on to study with modernist theorist and future husband Charles Seeger, writing her masterpiece, String Quartet 1931, not long after. But her legacy extends far beyond the cutting edge of modern music. Collaborating with poet Carl Sandburg on folk song arrangements in the twenties, and with the famous folk-song collectors John and Alan Lomax in the 1930s, she emerged as a central figure in the American folk music revival, issuing several important books of transcriptions and arrangements and pioneering the use of American folk songs in children's music education. Radicalized by the Depression, she spent much of the ensuing two decades working aggressively for social change with her husband and stepson, the folksinger Pete Seeger. This engrossing new biography emphasizes the choices Crawford Seeger made in her roles as composer, activist, teacher, wife and mother. The first woman to win a Guggenheim Foundation Fellowship in music composition, Crawford Seeger nearly gave up writing music as the demands of family, politics, and the folk song movement intervened. It was only at the very end of her life, with cancer sapping her strength, that she returned to composing. Written with unique insight and compassion, this book offers the definitive treatment of a fascinating twentieth-century figure.
Ruth Crawford Seeger (1901-1953) is frequently considered the most significant American female composer in this century. Joining Aaron Copland and Henry Cowell as a key member of the 1920s musical avant-garde, she went on to study with modernist theorist and future husband Charles Seeger, writing her masterpiece, String Quartet 1931, not long after. But her legacy extends far beyond the cutting edge of modern music. Collaborating with poet Carl Sandburg on folk song arrangements in the twenties, and with the famous folk-song collectors John and Alan Lomax in the 1930s, she emerged as a central figure in the American folk music revival, issuing several important books of transcriptions and arrangements and pioneering the use of American folk songs in children's music education. Radicalized by the Depression, she spent much of the ensuing two decades working aggressively for social change with her husband and stepson, the folksinger Pete Seeger. This engrossing new biography emphasizes the choices Crawford Seeger made in her roles as composer, activist, teacher, wife and mother. The first woman to win a Guggenheim Foundation Fellowship in music composition, Crawford Seeger nearly gave up writing music as the demands of family, politics, and the folk song movement intervened. It was only at the very end of her life, with cancer sapping her strength, that she returned to composing. Written with unique insight and compassion, this book offers the definitive treatment of a fascinating twentieth-century figure.
Judith Lomax was born into a world of emerging Evangelical fervor and tightly prescribed gender roles. Her own unique vision of evangelical Christian faith and the strength it instilled shaped her life. A record of her experience as an independent Southern woman in a patriarchal religious and social culture survives in the form of a devotional journal covering her mature years, 1819-1827. Journal entries include reflections on sermons, accounts of worship rituals, tales of life among her circle of evangelical companions, theologically dense religious poetry, and intimate devotional meditations which sprang from her personal and communal religious experience. Witty, thoughtful, and persistent, she lived as an individual bereft of traditional earthly attachments and support, yet bolstered by her complete devotion to evangelical Christianity and to her "Heavenly Bridegroom.
Zora Neale Hurston was confident, charismatic, and determined to be extraordinary. As a young woman, Hurston lived and wrote alongside such prominent authors as Langston Hughes and Alain Locke during the Harlem Renaissance. But unfortunately, despite writing the luminary work Their Eyes Were Watching God, she was always short of money. Though she took odd jobs as a housemaid and as the personal assistant to an actress, Zora often found herself in abject poverty. Through it all, Zora kept writing. And though none of her books sold more than a thousand copies while she was alive, she was rediscovered a decade later by a new generation of readers, who knew they had found an important voice of American Literature.
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