Published through the Recovering Languages and Literacies of the Americas initiative, supported by the Andrew W. Mellon Foundation Victoria Howard was born around 1865, a little more than ten years after the founding of the Confederated Tribes of Grand Ronde in western Oregon. Howardʼs maternal grandmother, Wagayuhlen Quiaquaty, was a successful and valued Clackamas shaman at Grand Ronde, and her maternal grandfather, Quiaquaty, was an elite Molalla chief. In the summer of 1929 linguist Melville Jacobs, student of Franz Boas, requested to record Clackamas Chinook oral traditions with Howard, which she enthusiastically agreed to do. The result is an intricate and lively corpus of linguistic and ethnographic material, as well as rich performances of Clackamas literary heritage, as dictated by Howard and meticulously transcribed by Jacobs in his field notebooks. Ethnographical descriptions attest to the traditional lifestyle and environment in which Howard grew up, while fine details of cultural and historical events reveal the great consideration and devotion with which she recalled her past and that of her people. Catharine Mason has edited twenty-five of Howard’s spoken-word performances into verse form entextualizations, along with the annotations provided by Jacobs in his publications of Howard’s corpus in the late 1950s. Mason pairs performances with biographical, family, and historical content that reflects Howardʼs ancestry, personal and social life, education, and worldview. Mason’s study reveals strong evidence of how the artist contemplated and internalized the complex meanings and everyday lessons of her literary heritage. 

When Skye Dunbar rents a small cabin in Washington State's San Juan Islands, the last thing she expects is to be accused of computer hacking. When Marine Biologist, Jeddediah Walker discovers the fish contain a high concentration of chemicals, he suspects that they are being deliberately dumped in Puget Sound. And he has another problem - an unexpected, beautiful and suspicious new tenant renting his cabin. And later, when someone hacks into his computer, he realises it is no coincidence and sets out to find out more about his mysterious tenant. However, Skye doesn't like Walker from the moment she lays eyes on him. He feels the same way. But that's about to change.

When Anna MacDonald leaves Edinburgh to find peace in the Scottish Highlands, she gets a twofold surprise: a lost sailor teaches her to love again...while a mysterious stranger has plans to kill her. Passed over for promotion by her boss-and boyfriend, Anna walks off the job in anger. But being reactionary has its price. No longer afford the rent on her Edinburgh apartment, she retreats to the only place she has ever felt happy - her grandmother's croft on the edge of a Highland loch. With no phone or neighbours, and only two border collies for company, Anna sets out to finally achieve her lifelong dream; to write-and sell-the novel that has burned within her for years. Luke Tallantyre, a renowned Cape Cod artist, has sailed across the Atlantic to escape an artistic dry spell. When his yacht develops a problem he drops anchor in Loch Hourn. He rows ashore, and knocking on the door of the croft, asks to use the telephone, but the reception he receives is less than welcoming - in fact it's downright frosty. Anna resents the cranky American's intrusion to her seemingly idyllic life. Luke thinks she's an ill-mannered hermit. But an unseen assassin is after one of them. So they unwillingly join forces and embark on an adventure neither ever imagined...including a chance at true love.

When English accountant Daniel Elliott dies in a car accident one rainy night, his widow, Grace, is overcome with grief...and panic. She soon discovers Daniel kept secrets: an alias, a list of numbers, and a mysterious beach house in Florida. Swallowing her fear, she flies to Miami. With little to go on and danger at every turn, Grace must depend on Jack West, an FBI agent, to help her navigate the criminal world of south Florida, and find the truth behind the Ring of Lies.

The Womens Feminist Movement (Women's Lib) started in the western world in the 1800's and has gone through three waves.

The 'first' wave was in the 1800's, and was orientated around the stations of middle or upper class women.

The 'second' wave began in the 1960's. It addressed unofficial inequalities, sexuality, and perhaps the most controversially, "reproductive rights."

The 'third' wave started in the 1980's and continues through the present. It focused on embracing contradictions, conflict and irrationality.

I AM WOMAN --The Book, is the 'fourth' wave in the Feminist Movement. It is the final wave: the Tsunami Wave

The book, like the women's organization, will help quide women to empowerment and transformation. It is for women seeking to re-invent themselves, and becoming the beautiful butterfly they really are.

I AM WOMAN will finally re-unite men and women, and women can now stand tall and proudly say: "I AM WOMAN.."..Watch me soar

Published through the Recovering Languages and Literacies of the Americas initiative, supported by the Andrew W. Mellon Foundation Victoria Howard was born around 1865, a little more than ten years after the founding of the Confederated Tribes of Grand Ronde in western Oregon. Howard's maternal grandmother, Wagayuhlen Quiaquaty, was a successful and valued Clackamas shaman at Grand Ronde, and her maternal grandfather, Quiaquaty, was an elite Molalla chief. In the summer of 1929 linguist Melville Jacobs, student of Franz Boas, requested to record Clackamas Chinook oral traditions with Howard, which she enthusiastically agreed to do. The result is an intricate and lively corpus of linguistic and ethnographic material, as well as rich performances of Clackamas literary heritage, as dictated by Howard and meticulously transcribed by Jacobs in his field notebooks. Ethnographical descriptions attest to the traditional lifestyle and environment in which Howard grew up, while fine details of cultural and historical events reveal the great consideration and devotion with which she recalled her past and that of her people. Catharine Mason has edited twenty-five of Howard's spoken-word performances into verse form entextualizations, along with the annotations provided by Jacobs in his publications of Howard's corpus in the late 1950s. Mason pairs performances with biographical, family, and historical content that reflects Howard's ancestry, personal and social life, education, and worldview. Mason's study reveals strong evidence of how the artist contemplated and internalized the complex meanings and everyday lessons of her literary heritage.