Frado becomes the servant of the Bellmonts, a lower-middle-class white family in the free North, while slavery is still legal in the South, and suffers numerous abuses in their household. Frado's story is a tragic one; having left the Bellmonts, she eventually marries a black fugitive slave, who later abandons her.

    Belknap's Waterproof Grand Canyon River Guide (All New Color Edition)

    E. (Alexandria) Bartram--a spirited young woman with a love for botany--is invited to join a field study in Yellowstone National Park. The study's leader, a mild-mannered professor from Montana, assumes she is a man, and is less than pleased to discover the truth. Once the scientists overcome the shock of having a woman on their team, they forge ahead on a summer of adventure, forming an enlightening web of relationships as they move from Mammoth Hot Springs to a camp high in the backcountry. But as they make their way collecting amid Yellowstone's beauty the group is splintered by differing views on science, nature, and economics. In the tradition of A. S. Byatt's Angels and Insects and Andrea Barrett's Ship Fever, this delightful novel captures an ever-fascinating era and one woman's attempt to take charge of her life.

     Amari's life was once perfect. Engaged to the handsomest man in her tribe, adored by her family, and living in a beautiful village, she could not have imagined everything could be taken away from her in an instant. But when slave traders invade her village and brutally murder her entire family, Amari finds herself dragged away to a slave ship headed to the Carolinas, where she is bought by a plantation owner and given to his son as a birthday present. Survival seems all that Amari can hope for. But then an act of unimaginable cruelty provides her with an opportunity to escape, and with an indentured servant named Polly she flees to Fort Mose, Florida, in search of sanctuary at the Spanish colony. Can the elusive dream of freedom sustain Amari and Polly on their arduous journey, fraught with hardship and danger?

    One should not be surprised, I suppose, that it has remained vital, and immediate, for that is the nature of story. And this is particularly true of the oral tradition, which exists in a dimension of timelessness. I was first told these stories by my father when I was a child. I do not know how long they had existed before I heard them. They seem to proceed from a place of origin as old as the earth."The stories in The Way to Rainy Mountain are told in three voices. The first voice is the voice of my father, the ancestral voice, and the voice of the Kiowa oral tradition. The second is the voice of historical commentary. And the third is that of personal reminiscence, my own voice. There is a turning and returning of myth, history, and memoir throughout, a narrative wheel that is as sacred as language itself." —From the new Preface

    He takes a job alongside his former teachers in the local elementary school and sets out on a search to understand how this ancient land has shaped its people—how it shaped him. His search sends him burrowing in the past—hunting buried treasure and POW camps, unearthing Civil War graves and family feuds, exploring gated communities and tourist traps, encountering changed accents and immigrant populations, tracing Wal-Mart's sidewalks and carved-out mountains—and pondering the future. He meshes narrative and myth, geology and genealogy, fiddle tunes and local color about the briskly changing and oft-stigmatized world of his native southern Appalachians.Somehow, these journeys continually lead him back to the mystical Bearwallow Mountain, a peak suddenly in flux.

    This new edition of Ar'n't I a Woman? reviews and updates the scholarship on slave women and the slave family, exploring new ways of understanding the intersection of race and gender and comparing the myths that stereotyped female slaves with the realities of their lives. Above all, this groundbreaking study shows us how black women experienced freedom in the Reconstruction South — their heroic struggle to gain their rights, hold their families together, resist economic and sexual oppression, and maintain their sense of womanhood against all odds.

    Each person’s story, unique and unfiltered, articulates the hardship of living in these majestic mountains amid the daily desecration of the land by the coal industry because of America’s insistence on cheap energy.Developed as an alternative to strip mining, mountaintop removal mining consists of blasting away the tops of mountains, dumping waste into the valleys, and retrieving the exposed coal. This process buries streams, pollutes wells and waterways, and alters fragile ecologies in the region. The people who live, work, and raise families in central Appalachia face not only the physical destruction of their land but also the loss of their culture and health in a society dominated by the consequences of mountaintop removal.Included here are oral histories from Jean Ritchie, “the mother of folk,” who doesn’t let her eighty-six years slow down her fighting spirit; Judy Bonds, a tough-talking coal-miner’s daughter; Kathy Mattea, the beloved country singer who believes cooperation is the key to winning the battle; Jack Spadaro, the heroic whistle-blower who has risked everything to share his insider knowledge of federal mining agencies; Larry Bush, who doesn’t back down even when speeding coal trucks are used to intimidate him; Denise Giardina, a celebrated writer who ran for governor to bring attention to the issue; and many more. The book features both well-known activists and people rarely in the media. Each oral history is prefaced with a biographical essay that vividly establishes the interview settings and the subjects’ connections to their region.Written and edited by native sons of the mountains, this compelling book captures a fever-pitch moment in the movement against mountaintop removal. Silas House and Jason Howard are experts on the history of resistance in Appalachia, the legacy of exploitation of the region’s natural resources, and area’s unique culture and landscape. This lyrical and informative text provides a critical perspective on a powerful industry.The cumulative effect of these stories is stunning and powerful. Something’s Rising will long stand as a testament to the social and ecological consequences of energy at any cost and will be especially welcomed by readers of Appalachian studies, environmental science, and by all who value the mountain’s majesty—our national heritage.

    The Collected Works of Billy the Kid is a virtuoso synthesis of storytelling, history, and myth by a writer who brings us back to our familiar legends with a renewed sense of wonder.

    Initiating and describing a theory and method of reading the metaphors and materiality of "the wake," "the ship," "the hold," and "the weather," Sharpe shows how the sign of the slave ship marks and haunts contemporary Black life in the diaspora and how the specter of the hold produces conditions of containment, regulation, and punishment, but also something in excess of them. In the weather, Sharpe situates anti-Blackness and white supremacy as the total climate that produces premature Black death as normative. Formulating the wake and "wake work" as sites of artistic production, resistance, consciousness, and possibility for living in diaspora, In the Wake offers a way forward.

    In this virtuosic array of poems, lists, shards, and sequences, Sharif assembles her family’s and her own fragmented narratives in the aftermath of warfare. Those repercussions echo into the present day, in the grief for those killed, in America’s invasions of Afghanistan and Iraq, and in the discriminations endured at the checkpoints of daily encounter.At the same time, these poems point to the ways violence is conducted against our language. Throughout this collection are words and phrases lifted from the Department of Defense Dictionary of Military and Associated Terms; in their seamless inclusion, Sharif exposes the devastating euphemisms deployed to sterilize the language, control its effects, and sway our collective resolve. But Sharif refuses to accept this terminology as given, and instead turns it back on its perpetrators. “Let it matter what we call a thing,” she writes. “Let me look at you.”

    The brutality of his murder, the open-casket funeral, and the acquittal of the men tried for the crime drew wide media attention.Award-winning poet Marilyn Nelson reminds us of the boy whose fate helped spark the civil rights movement. This martyr’s wreath, woven from a little-known but sophisticated form of poetry, challenges us to speak out against modern-day injustices, to “speak what we see.”

    Based on fifteen years of archival research, The Age of Phillis, by award-winning writer Honorée Fanonne Jeffers, imagines the life and times of Wheatley: her childhood in the Gambia, West Africa, her life with her white American owners, her friendship with Obour Tanner, and her marriage to the enigmatic John Peters. Woven throughout are poems about Wheatley's "age"--the era that encompassed political, philosophical, and religious upheaval, as well as the transatlantic slave trade. For the first time in verse, Wheatley's relationship to black people and their individual "mercies" is foregrounded, and here we see her as not simply a racial or literary symbol, but a human being who lived and loved while making her indelible mark on history.

    This book is the result--an effort to picture that life truly and realistically. It is the story of an energetic and capable girl, the child of German immigrant parents, who at the age of seventeen married a young German farmer, and moved to a homestead on the wind-swept plains of Kansas, where she reared eleven of her twelve children, and remembering regretfully her own half-day in school, sent nine of them through college. It is a story of grim and tenacious devotion in the face of hardships and disappointments, devotion that never flagged until the long, hard task of near a lifetime was done.--John Ise (from the preface)Deeply moved by his mother's memories of a waning era and rapidly disappearing lifestyle, John Ise painstakingly recorded the adventures and adversities of his family and boyhood neighbors--the early homesteaders of Osborne County, Kansas. First published in 1936, his nonfiction novel Sod and Stubble has since become a widely read and much loved classic. In the original, Ise changed some identities and time sequences but accurately retained the uplifting and disheartening realities of prairie life. Von Rothenberger brings us a new annotated and expanded edition that greatly enhances Ise's timeless tale. He includes the entire first edition-replete with Ise's charm, wit, and veracity, restores four of Ise's original chapters that have never been published, and adds photographs of many of the key characters. In his notes, Rothenberger reveals the true identity of Ise's family and neighbors, provides background on their lives, and places events within a wider historical and geographical context.Ushering us through a dynamic period of pioneering history, from the 1870s to the turn of the century, Sod and Stubble abounds with the events and issues--fires and droughts, parties and picnics, insect infestations and bumper crops, prosperity and poverty, divisiveness and generosity, births and deaths--that shaped the lives and destinies of Henry and Rosa Ise, their family, and their community.One hundred and twenty-five years after Osborne County was organized and Henry Ise homesteaded his claim, a corner of nineteenth-century Kansas social history remains safeguarded thanks to the tenacity of John Ise and the insight of Von Rotheberger, who enlivens Ise's story with revealing detail.

    K. Narayan in the Introduction to this new interpretation, 'is aware of the story of The Ramayana. Everyone of whatever age, outlook, education or station in life knows the essential part of the epic and adores the main figures in it - Rama and Sita. Every child is told the story at bedtime . . . The Ramayana pervades our cultural life.' Although the Sanskrit original was composed by Valmiki, probably around the fourth century BC, poets have produced countless variant versions in different languages. Here, drawing his inspiration from the work of an eleventh-century Tamil poet called Kamban, Narayan has used the talents of a master novelist to recreate the excitement and joy he has found in the original. It can be enjoyed and appreciated, he suggests, for its psychological insight, its spiritual depth and its practical wisdom - or just as a thrilling tale of abduction, battle and courtship played out in a universe thronged with heroes, deities and demons.