Originally published with Current 93's 1997 album of the same name.

    Little wonder, for readers are immediately drawn to Kent's vivid descriptions of the experience; we share "the feeling of wind and wet and cold, of lifting seas and steep descents, of rolling over as the wind gusts hit," and the sound "of wind in the shrouds, of hard spray flung on a drum-tight canvas, of rushing water at the scuppers, of the gale shearing a tormented sea."When the ship sinks in a storm-swept fjord within 50 miles of its destination, the story turns to the stranding and subsequent rescue of the three-man crew, salvage of the vessel, and life among native Greenlanders. Magnificently illustrated by Kent's wood-block prints and narrated in his poetic and highly entertaining style, this tale of the perils of killer nor'easters, treacherous icebergs, and impenetrable fog -- and the joys of sperm whales breaching or dawn unmasking a longed-for landfall -- is a rare treat for old salts and landlubbers alike.

    A tale of security and discovery, of playfulness and tragedy, of a fall from grace and the origins of faith.

    An enlarged edition, including thirty pages of illustrations (sculpture and drawings) as well as Pound's later pieces on Gaudier, was brought out in 1970, and is now re-issued as an ND Paperbook. The memoir is valuable both for the history of modern art and for what it shows us of Pound himself, his ability to recognize genius in others and then to publicize it effectively. Would there today be a Salle Gaudier-Brzeska in the Musée de L'Art Moderne in Paris if Pound had not championed him? Gaudier's talent was impressive and his Vorticist aesthetic important as theory, but he was killed in World War I at the age of twenty-three, leaving only a small body of work. Pound knew Gaudier in London, where the young artist had come with his companion, the Polish-born Sophie Brzeska. whose name he added to his own. They were living in poverty when Pound bought Gaudier the stone from which the famous "hieratic head" of the poet was made. Pound arranged exhibitions and for the publication of Gaudier's manifestoes in Blast and The Egoist. And he wrote and sent packages to him in the trenches, where Gaudier––a sculptor to the last––carved a madonna and child from the butt of a captured German rifle, just two days before he died.

    Now that she is nearly a grown woman and her father is ailing, she must make difficult choices about the future. Several men--ranging from the undesired to the unthinkable--vie for her attentions, but she finds herself inexplicably drawn to a forbidden love that both terrifies and intrigues her. Can she betray the memory of her lost loved ones--and garner suspicion from her friends--by pursuing a life with him? Or should she seal her own misery by marrying a man she doesn't love? This sweeping tale of romance and forgiveness will envelop readers as it takes them from a Kentucky fort through the vast wilderness to the west in search of true love.

    

    Among the poems he left behind are a particularly unsettling four that feature the mysterious Robinson: both a prototypical member of the smart set—masking his desperation with urbane savoir-faire—and an alter ego for the troubled Kees himself.In ROBINSON ALONE, Kathleen Rooney performs a bold act of literary mediumship, conjuring Kees through his borrowed character to sketch his restless journey across locales and milieus—New York, San Francisco, the highways between—and to evoke his ambitions, his frustrations, and his skewed humor. The product of a decade-long engagement with Kees and his work, this novel in poems is not only a portrait of an under-appreciated genius and his era, but also a beam flashed into haunted boiler-rooms that still fire the American spirit, rooms where energy and optimism are burnt down to ash.

    Also suitable for home school programs and independent study. Reproductible. 85 Pages

    Valedictorian and quintessential good girl, she’s about to graduate high school without ever having kissed her crush or broken the rules. So when fate drops a clue in her lap—one that might be the key to unraveling a town mystery—she decides to take a chance.Julianna Farnetti and Shane Cruz are remembered as the golden couple of Summit Lakes High—perfect in every way, meant to be together forever. But Julianna’s journal tells a different story—one of doubts about Shane and a forbidden romance with an older, artistic guy. These are the secrets that were swept away with her the night that Shane’s jeep plunged into an icy river, leaving behind a grieving town and no bodies to bury.Reading Julianna’s journal gives Parker the courage to start to really live—and it also gives her reasons to question what really happened the night of the accident. Armed with clues from the past, Parker enlists the help of her best friend, Kat, and Trevor, her longtime crush, to track down some leads. The mystery ends up taking Parker places that she never could have imagined. And she soon finds that taking the road less traveled makes all the difference.

    Cooper led thirty-six high school seniors on a spring vacation jaunt from Los Angeles to the desert near Quartzsite, Arizona. No student could earn the privilege of going on the Quartzsite Trip; it was given, and P.J. Cooper gave it. No activities were planned; they happened, and P.J. Cooper made them happen. What few rules there were were also P.J.'s and he enforced them with a whim of iron. In William Hogan's utterly delightful novel, the Quartzsite Trip turns out to be an utterly memorable experience.Here, the lion lies down with the lamb, the merciful find mercy, and the meek inherit the earth. Here, the tables are turned, and as they turn we meet a riotous and endearing cast of characters -- among them Deeter Moss, secret cowboy and closet Dodgers expert, who never talked to anybody before he went on the Quartzsite Trip; Margaret Ball, whose moonlit face displayed what pimples hid; Mary Allbright, who had a very secret fear and who, on the Quartzsite Trip, came up with a very secret plan to resolve it; and P.J. Cooper himself, the best teacher anyone ever had, who gave extra credit for Winnie the Pooh and The Catcher in the Rye and who discovered, in 1962, that the Great Equalizer makes rules too.[From the book jacket]

    A wonderful merger of fact and fiction, Marching to Valhalla is soon to be a major motion picture starring Brad Pitt.

    Afterward he lived in New York, the city of choice for political exiles, and eventually arrived in Washington, D.C., at the newly minted National Museum of the American Indian (“a bad idea whose time has come”) as a curator. In his journey from fighting activist to federal employee, Smith tells us he has discovered at least two things: there is no one true representation of the American Indian experience, and even the best of intentions sometimes ends in catastrophe. Everything You Know about Indians Is Wrong is a highly entertaining and, at times, searing critique of the deeply disputed role of American Indians in the United States. In “A Place Called Irony,” Smith whizzes through his early life, showing us the ironic pop culture signposts that marked this Native American’s coming of age in suburbia: “We would order Chinese food and slap a favorite video into the machine—the Grammy Awards or a Reagan press conference—and argue about Cyndi Lauper or who should coach the Knicks.” In “Lost in Translation,” Smith explores why American Indians are so often misunderstood and misrepresented in today’s media: “We’re lousy television.” In “Every Picture Tells a Story,” Smith remembers his Comanche grandfather as he muses on the images of American Indians as “a half-remembered presence, both comforting and dangerous, lurking just below the surface.” Smith walks this tightrope between comforting and dangerous, offering unrepentant skepticism and, ultimately, empathy. “This book is called Everything You Know about Indians Is Wrong, but it’s a book title, folks, not to be taken literally. Of course I don’t mean everything, just most things. And ‘you’ really means we, as in all of us.”

    But when controversy arises around her aunt Georgia's Indian Camp in their mostly white midwestern community, Rain decides to face the outside world again—at least through the lens of her camera.Hired by her town newspaper to photograph the campers, Rain soon finds that she has to decide how involved she wants to become in Indian Camp. Does she want to keep a professional distance from the intertribal community she belongs to? And just how willing is she to connect with the campers after her great loss?In a voice that resonates with insight and humor, Cynthia Leitich Smith tells of heartbreak, recovery, and reclaiming one's place in the world.