Knave. Joker. Queen. Lucifer Box is back! The hero of The Vesuvius Club and The Devil in Amber returns with an artistic licence to kill, and the deadliest mission of his career. A new Queen has been crowned, an old enemy has resurfaced and the world is about to be embraced by the lethal wings of the Black Butterfly.... Lucifer Box. He's tall, he's dark and, like the shark, he looks for trouble. Or so he wishes. For, with Queen Elizabeth newly established on her throne, the now elderly secret agent is reaching the end of his scandalous career. Despite his fast-approaching retirement, however, queer events leave Box unable to resist investigating one last case.... Why have pillars of the Establishment started dying in reckless accidents? Who are the deadly paymasters of enigmatic assassin Kingdom Kum? And who...or what...is the mysterious Black Butterfly? From the seedy streets of Soho to the souks of Istanbul and the sun-drenched shores of Jamaica, Box must use his artistic licence to confront and kill an enemy with its roots in his own notorious past. Can Lucifer Box save the day before the dying of the light?
Can films about black characters, produced by white filmmakers, be considered "black films"? In answering this question, Mark Reid reassesses black film history, carefully distinguishing between films controlled by blacks and films that utilize black talent, but are controlled by whites. Previous black film criticism has "buried" the true black film industry, Reid says, by concentrating on films that are about, but not by, blacks. Reid's discussion of black independent films—defined as films that focus on the black community and that are written, directed, produced, and distributed by blacks—ranges from the earliest black involvement at the turn of the century up through the civil rights movement of the Sixties and the recent resurgence of feminism in black cultural production. His critical assessment of work by some black filmmakers such as Spike Lee notes how these films avoid dramatizations of sexism, homophobia, and classism within the black community. In the area of black commercial film controlled by whites, Reid considers three genres: African-American comedy, black family film, and black action film. He points out that even when these films use black writers and directors, a black perspective rarely surfaces. Reid's innovative critical approach, which transcends the "black-image" language of earlier studies—and at the same time redefines black film—makes an important contribution to film history. Certain to attract film scholars, this work will also appeal to anyone interested in African-American and Women's Studies.
In this fascinating book, Mark Stein examines black British literature, centering on a body of work created by British-based writers with African, South Asian, or Caribbean cultural backgrounds. Linking black British literature to the bildungsroman genre, this study examines the transformative potential inscribed in and induced by a heterogeneous body of texts. Capitalizing on their plural cultural attachments, these texts portray and purvey the transformation of post-imperial Britain. Stein locates his wide-ranging analysis in both a historical and a literary context. He argues that a cross-cultural and interdisciplinary approach is essential to understanding post-colonial culture and society. The book relates black British literature to ongoing debates about cultural diversity, and thereby offers a way of reading a highly popular but as yet relatively uncharted field of cultural production. With the collapse of its empire, with large-scale immigration from former colonies, and with ever-increasing cultural diversity, Britain underwent a fundamental makeover in the second half of the twentieth century. This volume cogently argues that black British literature is not only a commentator on and a reflector of this makeover, but that it is simultaneously an agent that is integral to the processes of cultural and social change. Conceptualizing the novel of transformation, this comprehensive study of British black literature provides a compelling analytic framework for charting these processes.
Few people think of a rich Black heritage when they think of New England. In the pioneering book Black Portsmouth, Mark J. Sammons and Valerie Cunningham celebrate it, guiding the reader through more than three centuries of New England and Portsmouth social, political, economic, and cultural history as well as scores of personal and site-specific stories. Here, we meet such Africans as the "likely negro boys and girls from Gambia," who debarked at Portsmouth from a slave ship in 1758, and Prince Whipple, who fought in the American Revolution. We learn about their descendants, including the performer Richard Potter and John Tate of the People’s Baptist Church, who overcame the tragedies and challenges of their ancestors’ enslavement and subsequent marginalization to build communities and families, found institutions, and contribute to their city, region, state, and nation in many capacities. Individual entries speak to broader issues—the anti-slavery movement, American religion, and foodways, for example. We also learn about the extant historical sites important to Black Portsmouth—including the surprise revelation of an African burial ground in October 2003—as well as the extraordinary efforts being made to preserve remnants of the city’s early Black heritage.
From a brilliant young legal scholar comes this sweeping history of American ideas of belonging and citizenship, told through the stories of fourteen legal cases that helped to shape our nation. Spanning three centuries, Black Trials details the legal challenges and struggles that helped define the ever-shifting identity of blacks in America. From the well-known cases of Plessy v. Ferguson and the Clarence Thomas confirmation hearings to the more obscure trial of Joseph Hanno, an eighteenth-century free black man accused of murdering his wife and bringing smallpox to Boston, Weiner recounts the essential dramas of American identity—illuminating where our conception of minority rights has come from and where it might go. Significant and enthralling, these are the cases that forced the courts and the country to reconsider what it means to be black in America, and Mark Weiner demonstrates their lasting importance for our society.
Garifuna live in Central America, primarily Honduras, and the United States. Identified as Black by others and by themselves, they also claim indigenous status and rights in Latin America. Examining this set of paradoxes, Mark Anderson shows how, on the one hand, Garifuna embrace discourses of tradition, roots, and a paradigm of ethnic political struggle. On the other hand, Garifuna often affirm blackness through assertions of African roots and affiliations with Blacks elsewhere, drawing particularly on popular images of U.S. blackness embodied by hip-hop music and culture. Black and Indigenous explores the politics of race and culture among Garifuna in Honduras as a window into the active relations among multiculturalism, consumption, and neoliberalism in the Americas. Based on ethnographic work, Anderson questions perspectives that view indigeneity and blackness, nativist attachments and diasporic affiliations, as mutually exclusive paradigms of representation, being, and belonging. As Anderson reveals, within contemporary struggles of race, ethnicity, and culture, indigeneity serves as a normative model for collective rights, while blackness confers a status of subaltern cosmopolitanism. Indigeneity and blackness, he concludes, operate as unstable, often ambivalent, and sometimes overlapping modes through which people both represent themselves and negotiate oppression.
Black Lenses, Black Voices is a provocative look at films directed and written_and sometimes produced_by African Americans, as well as black-oriented films whose directors or screenwriters are not black. Mark Reid shows how certain films dramatize the contemporary African American community as a politically and economically diverse group, vastly different from film representations of the 1960s. Taking us through the development of African American independent filmmaking before and after World War II, he then illustrates the unique nature of African American family, action, horror, female-centered, and independent films, such as Eve's Bayou, Jungle Fever, Shaft, Souls of Sin, Bones, Waiting to Exhale, Monster's Ball, Sankofa, and many more.
Focusing largely on two pioneering black ministers -- Egbert Ethelred Brown, founder of the first Unitarian church in Harlem, and Lewis A. McGee, founder of the Interracial Free Religious Fellowship in Chicago's black ghetto -- Black Pioneers paints a painful yet important portrait of racism in liberal religion. Includes compelling stories from some of today's more integrated Unitarian Universalist congregations and biographical notes on past and present black Unitarian, Universalist and UU ministers.
Bold narrative poems that recreate the past. Yet, these are ultimately poems of survival. Jarman explores the redemptive power of the imagination and the ways in which we transform experience into stories we tell about our lives. His characters vividly express the will to cling to existence and understand it as they pursue the meaning of family, home, identity, and love. Invented memories resurrect a forgotten past, opening doors of possibility and adding a strange richness to everyday life. "Flowers of the flesh, / Hung on the cliffs to watch and be watched./ Don't let me see reproach, don't let me see it, / In your eyes. Let me be the only one/ Who knows and tells you.
The arrest and public confession of Pakistani nuclear weapons scientist Abdul Qadeer Khan in 2004 revealed the existence of a global proliferation network which had, over almost two decades, provided nuclear technology, expertise, and designs to Iran, North Korea, Libya and possibly other countries. Khan was not the only nuclear arms merchant and Pakistan was not the only country implicated in his shadowy network. It spanned three continents and eluded both national and international systems of export controls that had been designed to prevent illicit trade. The discovery of the network highlighted concerns that nuclear technology is no longer the monopoly of industrially advanced countries, but can be purchased off-the-shelf by both states and terrorist groups. The IISS Strategic Dossier on nuclear black markets provides a comprehensive assessment of the Pakistani nuclear programme from which the Khan network emerged, the network's onward proliferation activities, and the illicit trade in fissile materials. In addition, the Strategic Dossier provides an overview of the clandestine nuclear procurement activities of other states, along with the efforts made both by Pakistan and the international community to prevent the reoccurrence of further proliferation networks and to secure nuclear technology. The final chapter assesses policy options for further action.
This study explores the phenomenon of spectators in the Classical world through a database built from a census of the Corpus Vasorum Antiquorum, which reveals that spectator figures flourished in Athenian vase painting during the last two-thirds of the sixth century BCE. Using models developed from psychoanalysis and the theory of the gaze, ritual studies, and gender studies, Mark Stansbury-O'Donnell demonstrates how these "spectators" emerge as models for social and gender identification in the archaic city, encoding in their gestures and behavior archaic attitudes about gender and status.
Written by a highly successful author team, this handbook goes beyond the basics with technical references and practical troubleshooting, administrative tools, networking technologies, and more. The authors help readers maximize the many new features of Mac OS X, including enhanced robustness and full multitasking capability. The CD includes dozens of shareware and freeware utilities to modify tasks.
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