Members of a Navajo Indian family plan to move to a six-room house with electricity and running water, unaware that their excited talk is saddening the one-room hogan they will be leaving behind.
Published by Two Bytes Publishing Co., 219 Long Neck Pt. Road, Darien, CT 06820. An account of the creation of the vocabulary and the training of Navajos to send messages in code. The code was used through the Pacific Campaign and never broken. Includes the code. Wretched binding. Annotation copyright by Book News, Inc., Portland, OR
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Traces the remarkable life of a feminist poet through the items and images that have have defined her experiences My Life in 100 Objects is a personal reflection on the events and moments that shaped the life and work of one extraordinary woman. With a masterful, poetic voice, Margaret Randall uses talismanic objects and photographs as launching points for her nonlinear narrative. Through each “object,” Randall uncovers another part of herself, starting in a museum in Amman, Jordan, and ending in the Latin American Studies Association in Boston. Interwoven throughout are her most precious relationships, her growth as an artist, and her brave, revolutionary spirit. As Randall’s adventures often coincide with important moments in history, many of her objects provide a transcontinental glimpse into social upheavals and transitions. She shares memories from her years in Cuba (1969 to 1980) and Nicaragua (1980 to 1984), as well as briefer periods in North Vietnam (immediately preceding the end of the war in 1975), and Peru (during the government of Velasco Alvarado). In her introduction, Randall states, “objects and places have always been alive to me.” Her history too is alive, as much of a means to consider our own present as it is to glimpse her vibrant past.
The economy didn't go through the Great Depression - people did. Margaret DuBois grew up in a period of historic deprivation. Her family had to retreat to her grandparents' Ozark farm to survive. The farm patriarch, her grandfather, was an orator - a minister who had once served as a State Legislator. Their home-life differed from most similarly-situated Ozark families in its focus on spiritual duties and the love of learning. Books lined their shelves. Political bombast and pious sermon occupied their dinners. They didn't get up pre-dawn as most farm families did. Hard times drew out the best and worst of human character. As she watched her family cope with all manner of human failing, and unremitting rotten luck, Margaret saw that people are complex and rife with contradictions. In her family's composure through bitter disappointments she saw a strength of character worthy of remembrance. And on that rocky ground where the DuBois family held fast, she hatched her dreams.
The Zuni Mountains have over 360,000 acres of pristine wilderness. The volcanic area of the El Malpais National Monument is riddled with great, black lava flows, caves, and lava tubes. The El Morro National Monument has writings from ancient peoples flowing backward into time, early Spanish explorers, and later American explorers near a precious pool of deep water hidden beneath towering cliffs. Throughout Plateaus, mesas. cliffs, canyons, and small mountain peaks is the pygmy forest of pion and juniper trees interspersed with pines and towering Ponderosa pines with their red bark and straight trunks. The continental divide rises and falls as it winds its way north to the great Rocky Mountains. A polygot of peoples, Zuni, Pueblo, Navajo, Spanish, and the various ethnicities of Anglos make the Zuni Mountains home. Not all of the poems in this anthology are about the Zuni Mountains. The poets come from different places and different cultures, but the Zuni Mountains are in all the poems in this volume. Some of the poems capture the beauty of New Mexico sunlight that enlightens the human spirit in a way that sunlight in other places does not. Some are caught up by the mourning, laughter, sadness, comedy, tragedy, and endless stories that arise out of individuals living individual lives. Zuni Mountain country is not always an easy country. The trails through ancient volcanic flows frozen into black stone can challenge the most experienced hiker. You can be walking along a ridge and suddenly become aware that a mountain lion is watching you from a sandstone outcropping above your head. But it is a beautiful, wild place where horses can still find grass in green summer meadows and elk and antelope grace Mother Earth with the fluidity of movement and magnificence of the elks rack of horns. The poetry in this volume arises from the Zuni Mountains, and, as such, is as dynamic, interesting, and beautiful as the country from which it comes.
There are many parallels and some revealing differences in the encounter between, on the one hand, the Americans and various Indian tribes and, on the other, the Russians and some of the peoples of the Caucasus and Siberia. The enduring cultural consequences of these encounters provide a fruitful area of inquiry for the comparative examination of national images in literatures. The major focus on this study is the perceptions and literary portrayal of the Chechens by the Russians and the Navajos by the Americans. Both the Chechen in Russian literature and the Navajo in American literature are often constructs, images derived from a potent combination of prejudices and received assumptions. In each case a relatively sizable corpus of writings produced over a century or longer exemplifies or attempts to counter persistent and influential modes of cultural stereotyping. The diachronic analysis of the portrayal of either the Chechens or the Navajos illuminates patterns of prejudice that have immense implications for both popular and high culture. The juxtaposition of the discussion of the two groups as they have been treated in Russian and American literature can deepen our understanding of the commonalities present in attempted cultural domination or ethnic idealization. Margaret Ziolkowski is Professor of Russian at Miami University, Ohio.
From earliest childhood, the author has lived in a rainbow world, surrounded by the astonishment of remarkable and loving adults. She rarely contemplated the realities presented by a polka dot world in which the grey and tan dominated the red and gold. Growing up in the American West where the freedom to achieve appeared unlimited, she reached for it all and embraced both the people and adventures she found at her fingertips. This is the story of her life as it reflects the unfathomable beauty of her childhood blessed by American freedom.
Relates the nineteenth-century discovery of cliff dwellings in the Chaco Canyon of northwest New Mexico, the excavations of the ancient ruins, and what the artifacts reveal about the civilization of the ancient Pueblo Indians.
KEY MESSAGE: The Lial series has helped thousands of readers succeed in developmental mathematics through its approachable writing style, relevant real-world examples, extensive exercise sets, and complete supplements package. The Real Number System; Linear Equations and Inequalities in One Variable; Linear Equations and Inequalities in Two Variables: Functions; Systems of Linear Equations and Inequalities; Exponents and Polynomials; Factoring and Applications; Rational Expressions and Applications; Roots and Radicals; Quadratic Equations For all readers interested in Beginning Algebra.
Many years ago, during a long, confining illness in her native Australia, Margaret Stones whiled away the hours drawing the wildflowers friends placed at her bedside. Today she is acclaimed as one of the world's most distinguished botanical artists. Stones served for twenty-five years as the principal illustrator for Curtis's Botanical Magazine, contributing more than 400 drawings. She has also completed a six-volume illustrated work, The Endemic Flora of Tasmania, and has worked under commission for the Royal Botanical Gardens at Kew, England, the Royal Horticultural Society of England, and similar institutions the world over.In 1976, as part of the United States' bicentennial celebration, Louisiana State University commissioned Stones to execute six watercolor renderings of Louisiana flora. This initial project was so successful that Stones was asked to draw a much larger number of the state's native plants. Today Stones has completed more than 200 watercolors, all of which are maintained in the LSU Libraries' E. A. McIlhenny Natural History Collection. The drawings represent not only a collection of exquisite botanical art but an accurate scientific record of Louisiana's lush, varied, and beautiful flora.Flora of Louisiana reproduces the great bulk of Stones's collection. The volume contains more than 200 pages of full-color and black-and-white illustrations. Each drawing is accompanied by a short text that gives information about the plant, including a physical description and details about habitat and growing conditions.The publications of Flora of Louisiana is set to coincide with the first of several international exhibitions of Stones's drawings, beginning in April, 1991.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.