There are many corrections and many notes stuck between the pages, and the ink and pencil are faded and often difficult to read. I have had to guess at the meaning a few times and hope I haven’t done too much harm to her intent. Many changes were made in punctuation, spelling, paragraphing and chapters, and I’ve updated a few words, like Black Feet to Blackfoot. She made a few mistakes I did not correct, like mixing up the locations of the Little Blue and Big Blue rivers. The name Mary Faraday Huntington does not appear in any of the old records. Whoever wrote the words was neither shy nor humble, has a very foul mouth, and shamelessly talks about things rarely mentioned in stories of the Wild West. Her story is the way it was long ago, not the sugar coated fairly tales of book and film. Her story reminds me of something Jamake Highwater wrote: “The outward rusticity of primal behavior makes Western people devise a self-serving ideal of themselves as civilized, which sets them widely apart from other peoples and from nature. Their withdrawal from an awareness of their place in nature is nearly complete…primal peoples live among animals and vegetation constantly in close contact with the sources of nourishment and death, understanding their environment and expressing their ideas and feelings in terms of the natural world. In contrast, people in the West have created an idealization of their relationship with nature which has neither life nor spirit.” ADVENTURES IN THE WILD WEST OF LONG AGO Mary Faraday Huntington I’ve led a wild life and had a hell of a good time. I still have my nose, all my fingers and my scalp thanks to my high intelligence, strength, quickness, excellent judgment, and a little help from all my many, many friends. I promise not to lie too bad. If you are a prissy little thing, best to pass on by. If you are a refined gentleman, pass on by. 1. You’re just a girrrrrrl 2. The Under Water People 3. Fort Childs 4. Rising Wolf 5. The second best whorehouse in town 1 YOU’RE JUST A GIRRRRRL “You can't race. You’re just a girrrrrrl!” I bounced him a good one and he shrieked and jumped up and down with blood spurting out of his big, ugly nose. Oh my, how he did carry on. I got on my pony and went to the line. The flag dropped and off we went. No problem, I promised Charlie 3 cobs if we win. He got his corn and I got a shiny silver dollar and a tin can full of chewing tobacco. I traded the can for a bunch of fancy ribbons at old man Bailey’s haberdashery. ____________________ My name is Mary Faraday Huntington and I was born in 1834 at Independence, Missouri. My mother died when I was 9 months old and an Indian woman working at a whorehouse was the only one Christian enough to take me in. Don’t know who my father was but he must have been big, strong, and sharp as a whip. Probably an army man having a little fun. Sure they call me a bastard, but they learned quick enough not to do that to my face. Jennie is a Blackfoot spirit woman and a real good mother who cooks and cleans at Polly’s Paradise. We have a little room in the basement. Her real name is Aokii’aki, Water Woman. She taught me sign and Blackfoot, how to live off the land, and how to fight with my hands and feet and knife. And she is teaching me the ways of a spirit woman.

    In Black Noise: Rap Music and Black Culture in Contemporary America, Tricia Rose, described by the New York Times as a "hip hop theorist," takes a comprehensive look at the lyrics, music, cultures, themes, and styles of this highly rhythmic, rhymed storytelling and grapples with the most salient issues and debates that surround it.Assistant Professor of Africana Studies and History at New York University, Tricia Rose sorts through rap's multiple voices by exploring its underlying urban cultural politics, particularly the influential New York City rap scene, and discusses rap as a unique musical form in which traditional African-based oral traditions fuse with cutting-edge music technologies. Next she takes up rap's racial politics, its sharp criticisms of the police and the government, and the responses of those institutions. Finally, she explores the complex sexual politics of rap, including questions of misogyny, sexual domination, and female rappers' critiques of men.But these debates do not overshadow rappers' own words and thoughts. Rose also closely examines the lyrics and videos for songs by artists such as Public Enemy, KRS-One, Salt N' Pepa, MC Lyte, and L. L. Cool J. and draws on candid interviews with Queen Latifah, music producer Eric "Vietnam" Sadler, dancer Crazy Legs, and others to paint the full range of rap's political and aesthetic spectrum. In the end, Rose observes, rap music remains a vibrant force with its own aesthetic, "a noisy and powerful element of contemporary American popular culture which continues to draw a great deal of attention to itself."

    With the skill of a seasoned journalist and the passion of an amateur sleuth, he moves from scholarly conclave in California to archaeologcal digs in Israel, tracking down the story of the astounding consensus emerging from a varied group of experts.

    But the community was destined for greatness. Between 1850 and 1900, Boston underwent a stunning metamorphosis to emerge as one of the world's great metropolises-one that achieved national and international prominence in politics, medicine, education, science, social activism, literature, commerce, and transportation. Long before the frustrations of our modern era, in which the notion of accomplishing great things often appears overwhelming or even impossible, Boston distinguished itself in the last half of the nineteenth century by proving it could tackle and overcome the most arduous of challenges and obstacles with repeated-and often resounding-success, becoming a city of vision and daring.In A City So Grand, Stephen Puleo chronicles this remarkable period in Boston's history, in his trademark page-turning style. Our journey begins with the ferocity of the abolitionist movement of the 1850s and ends with the glorious opening of America's first subway station, in 1897. In between we witness the thirty-five-year engineering and city-planning feat of the Back Bay project, Boston's explosion in size through immigration and annexation, the devastating Great Fire of 1872 and subsequent rebuilding of downtown, and Alexander Graham Bell's first telephone utterance in 1876 from his lab at Exeter Place.These lively stories and many more paint an extraordinary portrait of a half century of progress, leadership, and influence that turned a New England town into a world-class city, giving us the Boston we know today.

    Deeply researched and richly told, Florence Harding reveals the never-before-told story of First Lady Florence Harding's phenomenal rise to power. The daughter of an abusive father in small-town Ohio, mother at a young age to an illegitimate child, Florence Harding saw her escape in Warren Harding, and became the driving force behind his ascent to one of the most scandal-ridden presidencies in United States history.Preeminent First Ladies biographer Carl Sferrazza Anthony not only captures the drama of Florence Harding's personality, but he uses the White House to bring to life Jazz Age America -- a world of speakeasies and Miss America, Babe Ruth, Al Jolson, and the rise of Hollywood. He shows how Florence's friendship with Evalyn McLean, the morphine-addicted owner of the Hope Diamond and The Washington Post was one of the defining bonds in her public life. With newly unsealed medical information, Florence Harding finally unfolds the mystery of whether the First Lady poisoned the President, whose death occurred seventy-five years ago. Florence Harding is a fascinating and informative look at a lost chapter in American history.

    Drawing on the diaries of a midwife and healer in eighteenth-century Maine, this intimate history illuminates the medical practices, household economies, religious rivalries, and sexual mores of the New England frontier.

    Practitioners of the art, known as ninja, were masters of exotic weapons, martial skills, and techniques of stealth and concealment. Their ability to move swiftly and silently, and to strike at will with deadly force, made them seemingly invincible opponents, giving rise to stories of amazing exploits and supernatural powers.

    Drawing from the private archives of the poet's estate and numerous interviews, Alexis De Veaux demystifies Lorde's iconic status, charting her conservative childhood in Harlem; her early marriage to a white, gay man with whom she had two children; her emergence as an outspoken black feminist lesbian; and her canonization as a seminal poet of American literature.

    Richard Lingeman examines a brief but momentous and crowded time, the years between VJ Day and the beginning of the Korean War, describing how we got from there to here. It evokes the social and cultural milieu of the late forties, with the vicissitudes of the New Deal Left and Popular Front culture from the end of one hot war and the beginning of the cold one—and, longer term, of a cold war that preoccupied the United States for the next fifty years. It traces the attitudes, sentiments, hopes and fears, prejudices, behavior, and collective dreams and nightmares of the times, as reflected in the media, popular culture, political movements, opinion polls, and sociological and psychological studies of mass beliefs and behavior.

    She made an everlasting mark in trailblazing Broadway plays such as Sex and The Constant Sinner and in films such as She Done Him Wrong, Klondike Annie, and I'm No Angel.             Simon Louvish, biographer of W. C. Fields, the Marx Brothers, Laurel and Hardy, and Keystone's Mack Sennett, brings Mae to vibrant life in this unparalleled new biography. He charts her amazing seven decades in show business, from early years in teenage summer stock to her last reincarnation as 1960s gay icon and grande dame of Hollywood survivors.             Mae West: It Ain't No Sin is the first biography to make use of Mae's recently uncovered personal papers, offering an unprecedented view into the endless creative drive and daring wit of this legendary star.

    In this, the definitive comprehensive history of Philadelphia, the reader will discover a rich and colorful portrait of one of America's most vital, interesting, and illustrious cities.

    . . Powers of Horror is an excellent introduction to an aspect of contemporary French literature which has been allowed to become somewhat neglected in the current emphasis on paraphilosophical modes of discourse. The sections on Céline, for example, are indispensable reading for those interested in this writer and place him within a context that is both illuminating and of general interest." -Paul de Man

    This volume contains the complete screenplay as well as a behind-the-scenes look at how the Oscar-winning movie was made, by one of its writers, Howard Koch. Charles Champlin, Roger Ebert, Umberto Eco, and others contribute incisive analyses of the movie's timeless appeal, and twenty-five beautifully reproduced stills capture the dramatically charged scenes of this true American classic.

    Initially conceptualized as a survival guide for children, teens, young adults and parents; it quickly transcended into this unprecedented, critical volume. This encompassing work responds to the many desperate and heartbreaking pleas of those affected by dysautonomia; included are clear explanations of medical information, evidenced-based research, best practices for clinical diagnoses and treatment options, alternative/complimentary medicine approaches, non-medical strategies, coping techniques, helpful tips, patient rights and options, and inspiring narrative accounts of people living with the syndrome around the globe. The book contributors and its readers join hand in hand to represent the POTS dysautonomia community's shared struggles and hopes, concerns and endeavors, unequivocally serving as a living testament that "Together We Stand." This is the 3rd Edition!

    Her powerful performance won her an Oscar® and bolstered the hopes of black Hollywood that the entertainment industry was finally ready to write more multidimensional, fully-realized roles for blacks.But despite this victory, and pleas by organizations such as the NAACP and SAG, roles for blacks continued to denigrate the African American experience. So Hattie McDaniel continued to play servants. “I’d rather play a maid then be a maid,” Hattie McDaniel answered her critics, but her flip response belied a woman who was emotionally conflicted. Here, in an exhaustively detailed and incisive text by a talented historian, is the story of a valiant woman who defied the racism of her time.