2016 Annual Indie Excellence Awards- Finalist in the Young Adult Fiction Category As featured in: Parade: Gifts For Your Teen Bookworm, POPSUGAR: 10 New Book Series that Recapture that Twilight Magic, Kids Book Buzz: YA Holiday Book Guide, Hypable: Must-Reads for Teen Read Week, Glitter Magazine: 10 YA Heartthrobs to Fill Your Edward/Jacob Void, SheKnows: Holiday Gifts for Book Lovers, The Reading Room: Books to Pair with Your Favorite Winter Drink Part Viking, part Eskimo, Neiva Ellis knew her family’s ancestral home, the island of Spirit, Alaska, held a secret. A mystery so sensitive everyone, including her beloved grandmother, was keeping it from her. When Neiva is sent to stay on the island while her parents tour Europe she sets out on a mission to uncover the truth, but she was not prepared for what laid ahead. On the night of her seventeenth birthday, the Eskimo rite of passage, Neiva is mysteriously catapulted into another world full of mystical creatures, ancient traditions, and a masked stranger who awakens feelings deep within her heart. Along with her best friends Nate, Viv and Breezy, she uncovers the truth behind the town of Spirit and about her own heritage. When an evil force threatens those closest to her, Neiva will stop at nothing to defend her family and friends. Eskimo traditions and legends become real as two worlds merge together to fight a force so ancient and evil it could destroy not only Spirit but the rest of humanity.
A transcendent travelogue that guides readers through the history, places, and people of several of the many witch hunts and how their legacy continues to impact us today." --Pam Grossman, author of Waking the Witch: Reflections on Women, Magic, and Power Traveling through cities and sites across Italy, France, Germany, Ireland, the United Kingdom, and the United States, Kristen J. Sollée explores the places and people significant to the early modern legacy of the witch. Between the 15th and 17th centuries, a confluence of political, economic, and religious factors ignited a wildfire of witch hysteria in Europe and, later, in parts of America. At the heart of these witch hunts were often dangerous misconceptions about femininity and female sexuality, and women were disproportionately punished as a result. Today, this lineage of oppression remains a vital reference point in the fight for women's rights--and human rights--in the Western world and beyond. By infusing an adventurous first-person narrative with extensive research and moments of imaginative historical fiction, Sollée (author of Witches, Sluts, Feminists) makes an often-overlooked period of history come alive. Written for armchair travelers and on-the-ground explorers alike, Witch Hunt not only uncovers the horrors of history but how the archetype of the witch has been rehabilitated. For witches are not just haunting figures of the past; the witch is also a liberatory icon and identity of the present. This paperback edition includes a new afterword by the author and an updated travel resources section.
When David and Doris Johnson restored a French mini-chateau, they learnt new skills, solved the mysteries of septic drainage, and excavated not only the ancient foundations, but the chequered history of the house itself. And through all this, and through new friends, they also rediscovered themselves. French property expert, Clive Kristen, records their adventures.
Perfect for summer reading is this first book in a fun new series about two middle school BFFs as they experience the highs and lows of friendship, boys, sixth grade politics, sister drama, and popularity. Middle school isn’t a popularity contest. It’s a war. Perry and her best friend, Venice, are excited to be yearbook photographers and tell the story of their school through their art. But that’s before they find out the truth: the spontaneous moments they’re supposed to capture are all faked. Yearbooks should include everybody—even the dorks. But Perry feels totally stuck. Until she starts taking flattering shots of popular people, none of her candids will ever be chosen. Fighting back isn’t going to win her any friends—she might even lose some. It's time to decide what’s more important: fitting in . . . or standing out.
In the sleepy town of Sangre Valley, Buicks still have tailfins, girls don poodle skirts, and families gather around their black and white televisions to watch The Donna Reed Show. But not all is as it seems in this 1950's town. The milkman leaves bottles of blood on the doorstep instead of milk, and the grocery store sells human heads as produce instead of heads of lettuce. The residents of Sangre Valley are vampires. Valerie Murray is a vampiric housewife with three beautiful children, a successful husband, and a lovely home. But after a dinner party for her husband's boss Dr. Venjamin, Valerie learns the doctor's dark secret and her world is turned upside down. Now to save her children from Venjamin's depraved plans, they must flee Sangre Valley and run for their lives. But what the family faces outside their small town is nearly as terrifying as what awaits them within.
This book fills a significant gap in the critical conversation on race in media by extending interrogations of racial colorblindness in American television to the industrial practices that shape what we see on screen. Specifically, it frames the practice of colorblind casting as a potent lens for examining the interdependence of 21st century post-racial politics and popular culture. Applying a ‘production as culture’ approach to a series of casting case studies from American primetime dramatic television, including ABC’s Grey’s Anatomy and The CW’s The Vampire Diaries, Kristen Warner complicates our understanding of the cultural processes that inform casting and expounds the aesthetic and pragmatic industrial viewpoints that perpetuate limiting or downright exclusionary hiring norms. She also examines the material effects of actors of color who knowingly participate in this system and justify their limited roles as a consequence of employment, and finally speculates on what alternatives, if any, are available to correct these practices. Warner’s insights are a valuable addition to scholarship in media industry studies, critical race theory, ethnic studies, and audience reception, and will also appeal to those with a general interest in race in popular culture.
Sixth-graders Perry and Venice, photographers for their middle-school yearbook, are frustrated to learn that only pictures of popular students are welcome, but when Venice gets involved with a boy Perry doesn't like, Perry puts their friendship at risk by siding with Anya, the editor-in-chief.
She wished her mom would disappear. Now her mom's missing, and all she wants is to find her again. Teen witch Rosamunde broke the spell her mother, Rosmerta, used to control her family and reported the illegal use of magic to the Faerie Court. So her mom became a fugitive from the law, taking Rosa's younger sister Akasha with her. When none of the faeries can track down her mother, Rosa realizes that she'll have to be the one to find her mom. Rosa takes a dangerous risk: getting close to the mysterious exiled Unseelie who helped her mother go into hiding. To gain their trust, she'll have to break the rules. Her faeriekin friends, Ashleigh and Glen, and kitsune boyfriend, Kai, worry that she's getting in too deep. But for the chance to confront her mother and save her sister, Rosa will sacrifice anything . . . maybe even the things that she believes in the most.
First Published in 2005. Distinctly interdisciplinary, Kingship, Conquest, and Patria brings together French and Welsh studies with literary and historical analysis, genre study with questions of medieval colonialisms and national writing. It treats eight centuries' worth of insular and continental literature, placing the 12th- and 13th-century development of Arthurian romance in a history of fraught, ambiguous relations between Capetian France, Angevin England, and native Wales. Overall, the book aims to contextualize how French Arthurian romance and Welsh rhamant, despite being products of opposing cultures in an age of conquest, collectively revise the figure of King Arthur created by earlier insular tradition. At a time when contemporary monarchies sought to curtail the autonomy of both northern French and Welsh principalities, the literary image of kingship pointedly declines in romance and rhamant, replaced by an ideal of knightly independence. A focus on the romance portrait of King Arthur is the culmination of this study: Part I provides a survey of early British Arthurian material written in Latin and Welsh; Part II presents the historical contexts in northern France and Wales out of which the genre of Arthurian romance emerged; Part III turns to literary and sociopolitical analyses of Chrétien's five romances and the three Welsh rhamantau.
Circe Quinn, the office manager of a moving company, goes to sleep at home and wakes up in a corral filled with women wearing sacrificial virgin attire—and she’s one of them. She figures this is not good and soon finds she’s not having a wild dream; she’s living a frightening nightmare. She’s been transported to a barren land populated by a primitive people, where she’s installed very unwillingly on her white throne of horns as their queen. Dax Lahn is the king of Suh Tunak, the Horde of the nation of Korwahk. With one look at Circe, he knows she will be his bride and together they will start the Golden Dynasty of legend. Circe and Lahn are separated by language, culture, and the small fact she’s from a parallel universe and has no idea how she got there. Or, more importantly, how to get home. Facing challenge after challenge, Circe finds her footing as Queen of the brutal Korwahk Horde and wife to its King. Then she finds herself falling in love with this primitive land, its people and especially their savage leader.
Two middle school BFFs experience the highs and lows of friendship, boys, sixth-grade politics, sister drama, and popularity in this funny and smart sequel to Project (Un)Popular! Perry can’t figure out what she’s doing wrong. Her best friend, Venice, has a boyfriend, making her feel totally left out—especially when Venice doesn’t seem to have time for Perry or her problems. Yearbook has gotten a little bit better, but Anya is still out to get her, and instead of getting to work on something fun, Perry’s stuck covering the “What’s Hot” section. Even her attempt to help the geeks is backfiring. And when her older sister takes one of the biggest dorks at school under her wing, Perry feels completely betrayed. Now Hayes, a boy she barely knows, is hanging around and giving her stuff, and Perry panics. She doesn’t want a boy to be crushing on her—especially Hayes. And social media makes everything more complicated. Is it even possible for Perry to turn things around and make sixth grade awesome? "The drama of crushes, frenemies, and hovering parents is spot-on."--Kirkus Reviews
Ava Barlow hates men. She has reason and she’s vowed not only never to get involved with another man again, but also to exact vengeance on her best friend’s lying, cheating, rat-bastard husband. Since Luke Stark, Ava’s childhood crush, is now a badass mother, she thinks to enlist him, but changes her mind at the last second. Too late. Luke knows she’s up to something and he’s already seen many a Rock Chick try to fight her own battles without the Hot Bunch stepping in. He’s having none of it. She’s having none of him. The problem is, Ava and Luke find themselves in a house torn apart in a hail of gunfire. And just like that, Luke isn’t about to give in to Ava’s brush off. The clash of the Rock Chick and Hot Bunch Guy begins, but Luke’s got the advantage. He has handcuffs and he’s not afraid to use them.
Snakes are often seen with their tongue sticking out. They’re not being rude; they’re tasting the air! Snakes use their tongue to sense the world around them. Readers discover this and more as they explore fun facts about snake senses. They also learn about other animals that taste the air, including a variety of lizards. Readers are presented with a helpful graphic organizer as well as bright, detailed photographs of these animals in their natural habitat. The engaging text and colorful photographs present science curriculum topics in a way that will keep readers entertained as they’re learning new things with each turn of the page.
Drawing on over 600 incidents of racetalk among whites, blacks, Latinos, and Asians, this book examines private racism. Using a dialectical analysis, this book examines the ways that everyday people help to reproduce racism through their common interactions. Visit out website for sample chapters!
You'll walk away with more gratitude for the slow burn of the healing process." — Alicia Cook, author of Sorry I Haven’t Texted You Back Tidal Pools and Other Small Infinities blurs the lines between endings and beginnings. The love story starts in the usual way: a whirlwind of confessions, late night conversations, and promises that seem sturdy. The years pass by, and novelty is replaced by a comforting routine – one that’s difficult to walk away from when things take a toxic turn. This is a collection about bravery and evolution. It takes courage to leave behind the familiar. To question all the things that once seemed undeniably true. To learn to stand on your own and, in doing so, become who you were really meant to be. Endings can be the best beginnings…once you realize you have the power to create them.
Women everywhere have long struggled for recognition as equal, productive members of society, worthy of taking part in the political process. These struggles become even more pronounced in times of conflict and war, when the symbolism and myths of womanhood are used to stoke nationalistic ideas about the survival of the state. Yet for all the rhetoric that takes place in their name, it’s men who generally make decisions regarding war. Women and War examines how women respond to situations of conflict. Drawing on both traditional and feminist international relations theory, it explores the roles that women play before, during and after a conflict, how they spur and respond to nationalist and social movements, and how conceptions of gender are deeply intertwined with ideas about citizenship and the state. As Kaufman and Williams show, women do more than respond to conflict situations; they are active agents in their own right shaping political and historical processes. Their conclusions encourage us to rethink the prevalent assumptions of international relations, history and feminist scholarship and theory.
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