In Dry Climate Gardening, author and desert horticulturist Noelle Johnson, also known as AZ Plant Lady, delivers all the know-how you need to grow a breathtaking, colorful, and vibrant garden in low-water conditions. Gardening in an arid climate doesn’t have to mean a yard full of rocks with a few cacti plunked in. With careful plant selection and thoughtful design, you can create a low-water landscape that’s an oasis for humans and wildlife alike. There are hundreds of plants well-suited to xeric conditions, and with the proper care, they create a living desert landscape that will stop passersby in their tracks. Let Dry Climate Gardening be your guide to crafting a climate-appropriate outdoor living space that’s the envy of the neighborhood, whether you live in the American Southwest, the Mediterranean region, or any other arid climate. Inside you’ll find: The best arid-adapted plants to feature in your landscape Information on which plants struggle in dry climates and how to avoid them The five “desert seasons” and which are best for planting How to handle desert soils Plant care techniques specific to dry climates, including pruning, fertilizing, and more How to design a planting for maximum impact and minimal water needs Plant profiles and charts for every category, from trees and shrubs to groundcovers, vines, succulents, and perennials Sample garden designs and plant lists you can adapt to your own space With water restrictions and the number of gardeners dealing with drought conditions on the rise, we all need to get more creative in the way we grow. Water-wise landscaping is a must for millions of gardeners. In Dry Climate Gardening, you’ll learn how to do it with care and style.
James Weldon Johnson’s Modern Soundscapes provides an evocative and meticulously researched study of one of the best known and yet least understood authors of the New Negro Renaissance era. Johnson, familiar to many as an early civil rights leader active in the National Association for the Advancement of Colored People and an intentionally controversial writer on the subject of the significance of race in America, was one of the most prolific, wide-ranging, and yet elusive authors of twentieth-century African American literature. Johnson realized early in his writing career that he could draw attention to the struggles of African Americans by using unconventional literary methods such as the incorporation of sound into his texts. In this groundbreaking work, literary critic Noelle Morrissette examines how his literary representation of the extremes of sonic experience—functioning as either cultural violence or creative force—draws attention to the mutual contingencies and the interdependence of American and African American cultures. Moreover, Morrissette argues, Johnson represented these “American sounds” as a source of multiplicity and diversity, often developing a framework for the interracial transfer of sound. The lyricist and civil rights leader used sound as a formal aesthetic practice in and between his works, presenting it as an unbounded cultural practice that is as much an interracial as it is a racially distinct cultural history. Drawing on archival materials such as early manuscript notes and drafts of Johnson’s unpublished and published work, Morrissette explores the author’s complex aesthetic of sound, based on black expressive culture and cosmopolitan interracial experiences. This aesthetic evolved over the course of his writing life, beginning with his early Broadway musical comedy smash hits and the composition of Autobiography of an Ex-Colored Man (1912), and developing through his “real” autobiography, Along This Way (1933). The result is an innovative new interpretation of the works of one of the early twentieth century’s most important and controversial writers and civil rights leaders.
Parker, a black leopard shifter living in a remote part of Oregon, saves the life of a woman and her child after they are in a car accident on an isolated road near his property. Discovering Addison is on the run from an abusive relationship, one very pissed off leopard is determined to do everything he can to keep her and her baby, London, safe. His animal insists Addison is his true mate, but Parker has lost one mate and doesn't believe there will be another for him in this lifetime. He doesn't believe he deserves one. Will Parker learn to love again? Is he truly destined to have another mate or will his developing feelings for the woman leave him heartbroken and alone once again?
Colton is a player in every sense of the word. As the Denver Mountain Lions’ defensive lineman, he’s a love ‘em and leave ‘em kind of guy. Suddenly, at a friend’s wedding, he finds himself wanting more than just slow dancing and kisses with his best friend, Betsey Ann, a self-proclaimed love ‘em and keep ‘em kind of girl. Colton wants more and hasn’t been with Betsey Ann. But is Betsey ready to risk losing their friendship if they don’t work out? She’s been shattered before but Colton is willing to heal her heart. Can they learn to trust enough to try or will they both be left in Shattered Pieces?
James Weldon Johnson’s Modern Soundscapes provides an evocative and meticulously researched study of one of the best known and yet least understood authors of the New Negro Renaissance era. Johnson, familiar to many as an early civil rights leader active in the National Association for the Advancement of Colored People and an intentionally controversial writer on the subject of the significance of race in America, was one of the most prolific, wide-ranging, and yet elusive authors of twentieth-century African American literature. Johnson realized early in his writing career that he could draw attention to the struggles of African Americans by using unconventional literary methods such as the incorporation of sound into his texts. In this groundbreaking work, literary critic Noelle Morrissette examines how his literary representation of the extremes of sonic experience—functioning as either cultural violence or creative force—draws attention to the mutual contingencies and the interdependence of American and African American cultures. Moreover, Morrissette argues, Johnson represented these “American sounds” as a source of multiplicity and diversity, often developing a framework for the interracial transfer of sound. The lyricist and civil rights leader used sound as a formal aesthetic practice in and between his works, presenting it as an unbounded cultural practice that is as much an interracial as it is a racially distinct cultural history. Drawing on archival materials such as early manuscript notes and drafts of Johnson’s unpublished and published work, Morrissette explores the author’s complex aesthetic of sound, based on black expressive culture and cosmopolitan interracial experiences. This aesthetic evolved over the course of his writing life, beginning with his early Broadway musical comedy smash hits and the composition of Autobiography of an Ex-Colored Man (1912), and developing through his “real” autobiography, Along This Way (1933). The result is an innovative new interpretation of the works of one of the early twentieth century’s most important and controversial writers and civil rights leaders.
After waking up from a coma, Hayden thinks he's lost the only woman he ever loved by pushing her away because of his confession. He realizes he's still in love with her during his recovery and misses their lost relationship. Can he rekindle their friendship once again, or is there no going back after what happened in their past? During Hayden's recovery, Cece struggles with her new found love for Hayden. When the ultimate betrayal rips Hayden and Cece's world apart, will their love overcome? Will they find their Forever, always?
Gale Researcher Guide for: The Literary Biography: James Boswell's The Life of Samuel Johnson is selected from Gale's academic platform Gale Researcher. These study guides provide peer-reviewed articles that allow students early success in finding scholarly materials and to gain the confidence and vocabulary needed to pursue deeper research.
Ryder and his brother, Chance, grew up next door to Flynn. Ryder being the youngest of the three boys, followed Flynn and Chance wherever they would go. Things change for Ryder when Chance and Flynn graduate from high school and Flynn takes off. Though Chance and Flynn are still friends, Ryder finds himself the third man out when his brother doesn't share anything on what Flynn has been up to. The once close friendship the three shared is placed to the side as Ryder pushes on with his life. Well, until his graduation from college celebration when his childhood friend returns as a tall, muscular, tattooed man who has Ryder shuttering in all that is Flynn. Flynn may have had a good reason to leave his hometown in the first place, but didn't make his time away any easier. After being away for years, Flynn flies home for several reasons: one, to take care of his dad and help run the family business and two, the most important reason of all. He's… Returning for Ryder.
Parker, a black leopard shifter living in a remote part of Oregon, saves the life of a woman and her child after they are in a car accident on an isolated road near his property. Discovering Addison is on the run from an abusive relationship, one very pissed off leopard is determined to do everything he can to keep her and her baby, London, safe. His animal insists Addison is his true mate, but Parker has lost one mate and doesn't believe there will be another for him in this lifetime. He doesn't believe he deserves one. Will Parker learn to love again? Is he truly destined to have another mate or will his developing feelings for the woman leave him heartbroken and alone once again?
Anne Spencer between Worlds provides an indispensable reassessment of a critically neglected figure. Looking beyond the poetry she published during the Harlem Renaissance, Noelle Morrissette provides a new critical lens for interpreting Spencer’s expansive life and imagination through her archives, giving particular focus to her manuscripts authored from 1940 to 1975. Through its attentiveness to Spencer’s published and unpublished work, her work as a librarian and an activist, and the political dimensions of her writing, Anne Spencer between Worlds transforms our understanding of Spencer. It offers a sustained examination of poetry and ecology, and the relationships among race, gender, and archives, through its analysis of the manuscripts that Spencer produced and revised throughout her life. Morrissette argues that the expansiveness, depth, and range of Spencer’s writing has not been appreciated because she did not publish this incomplete, ongoing work. She also demonstrates that careful reading of the manuscripts challenges many of the assumptions that have governed Spencer’s reception. In Anne Spencer between Worlds, Spencer emerges as a deeply engaged political poet who used the creative possibilities of the unpublished manuscript to explore pressing political and cultural concerns and to develop experimental cultural forms. In her unpublished manuscripts, Spencer pushed beyond the lyric mode to develop experimental forms that were alert to the expressive possibilities of the epic, prose, correspondence, and mixed genres. Indeed, Spencer’s manuscripts serve as witnesses of historical and poetic junctions for the poet and for the attentive reader of her archives.
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