The contents include a chapter on Conversion and the following. In Act Two, we have, "Words Before Blows" by Sammie Byron, Brutus; "Most Noble Brother, You Have Done Me Wrong" by DeMond Bush, Mark Antony; and, "Have You Not Love Enough to Bear with Me?" by Ron Brown, Cassius. In Intermission, we have Othello: Unplugged at Luther Luckett Correctional Complex. In Act Three, we have The Luckett Symposium on Shakespeare and Race: Titus Andronicus, Merchant of Venice, and Othello; "George Bush Doesn't Care about Black People": Agnes Wilcox's Julius Caesar at Northeast Correctional Center. In Act Four, we have "Romans, Countrymen, Lovers!" The Shakespeare Behind Bars Tour at the Kentucky Correctional Institute for Women; "Unsex Me Here": Playing the Lady at Luckett; and, Rapshrew: Jean Trounstine and the Framingham Women's Prison. In Act Five, we have: A Visit with Warden Larry Chandler; Desdemona Speaks: Mike Smith on the Outside; and, Shakespeare in Solitary: "To Revenge or to Forgive?": Laura Bates' Hamlet and Othello at the Wabash Valley Correctional Facility. The contents also include an epilogue.

Folk tales are stories full of adventure, courage, daring, fighting dragons, trolls, and giants, and overcoming challenges. How many of them have girls as the main heroic characters though? These twelve folk tales from all over the world have been specially selected as they feature strong, adventurous heroines. Some are funny, some make you think, and some - like the story of Fearless Mary - keep you on the edge of your seat with scares and surprises. Meet Louisa Freya, the brave dragon slayer, funny and clever Sigrun, and honest and humble Scarface as well as other heroines from Serbia, Norway, China, Japan, South Africa, and Indonesia. Amy Scott Robinson's distinctive voice, expertise and experience as a performance storyteller makes this a unique and fascinating collection, aimed at readers aged 7-9 years. At the end of each story, Amy shares a bit about where the story comes from, how she has retold it, and what the tale makes her think about when she is hearing or telling it, including Bible verses. These folk tales deserve to be told as often as the more famous and well-known ones. After all, why should boys defeat all the dragons? Enjoy the adventure!

La Raza, launched in 1967 in the basement of an Eastside LA church, was conceived as a tool for community-based organizing during the early days of the Chicano movement. The all-volunteer staff of the newspaper-and the magazine that followed-informed readers and exhorted them to action through images and articles that showcased protests and demonstrations and documented pervasive social inequity and police abuse. La Raza's photographers played a critical role as artists, journalists, and activists, creating an unparalleled record of the determination, resilience, and achievements of the Chicano community during a period of profound social change. This catalog presents photographs from the La Raza exhibition at the Autry Museum of the American West and the more than 25,000 images in the La Raza Photograph Collection at the UCLA Chicano Studies Research Center. The essays offer not only scholarly assessments of the role of Chicanx photographers in social movements and art history but also personal perspectives from La Raza photographers.

Bible stories are full of adventure and courageous characters. However many that feature women and girls are not told so often. These twelve Bible stories have been specially selected as they feature strong, inspiring girls. Some are funny, some make you think, and some - like the story of Queen Esther - keep you on the edge of your seat with scares and surprises. Meet quick-thinking Miriam, unflappable Abigail, and determined Lydia as well as other stories from the books of Numbers, Judges, Ruth, 2 Kings, and the Gospels of Luke and John. Amy Scott Robinson's distinctive voice, expertise and experience as a performance storyteller makes this a unique and fascinating collection, aimed at readers aged 7-9 years. At the end of each story, Amy shares a bit about where the story is found in the Bible, how she has retold it, and what the story makes her think about when she is hearing or telling it. These Bible stories deserve to be told as often as the more well-known ones. Enjoy the adventure!

When you hear the name ‘God’, does an image come into your head? Do you think of him as a shining light, or with a human shape, or as an anchor in the storm, a rock, a fortress? As we look towards celebrating the incarnation at Christmas, we consider how God chose to express himself, in a moment in history, as a tiny baby. But what other images describe God in the Bible, and what can we learn about his character through them? How does an invisible God reveal himself to us in scripture and in Jesus? Amy Scott Robinson, a poet and storyteller, answers this question with imagination and a close reading of the text. Week 1: When God appears Week 2: God the creator Week 3: God the owner Week 4: Veiled in flesh Week 5: Visible in creation

‘At the heart of the Christian message is a collection of abstract nouns: love; sin; forgiveness; grace. It is quite difficult to explain what the gospel message is without using some or all of those words. But the problem with abstract nouns is that when we use them, we assume that the person we are talking to understands them, and not only that, we assume that they have the same understanding of the word that we do…’ Lent is traditionally a time of repentance, fasting and prayer as we prepare to celebrate our salvation at Easter. Through daily readings and reflections from Ash Wednesday to Easter Day, Amy Scott Robinson explores different biblical images of repentance, sin, forgiveness and grace, bringing them together in Holy Week as a lens through which to view Christ’s work of reconciliation on the cross. ‘Amy is an expert storyteller, a well of emotion and reflection, and a follower of Jesus with a deep, genuine hunger for the reality of God.’ Adrian Plass, author and speaker

The contents include a chapter on Conversion and the following. In Act Two, we have, "Words Before Blows" by Sammie Byron, Brutus; "Most Noble Brother, You Have Done Me Wrong" by DeMond Bush, Mark Antony; and, "Have You Not Love Enough to Bear with Me?" by Ron Brown, Cassius. In Intermission, we have Othello: Unplugged at Luther Luckett Correctional Complex. In Act Three, we have The Luckett Symposium on Shakespeare and Race: Titus Andronicus, Merchant of Venice, and Othello; "George Bush Doesn't Care about Black People": Agnes Wilcox's Julius Caesar at Northeast Correctional Center. In Act Four, we have "Romans, Countrymen, Lovers!" The Shakespeare Behind Bars Tour at the Kentucky Correctional Institute for Women; "Unsex Me Here": Playing the Lady at Luckett; and, Rapshrew: Jean Trounstine and the Framingham Women's Prison. In Act Five, we have: A Visit with Warden Larry Chandler; Desdemona Speaks: Mike Smith on the Outside; and, Shakespeare in Solitary: "To Revenge or to Forgive?": Laura Bates' Hamlet and Othello at the Wabash Valley Correctional Facility. The contents also include an epilogue.

Best Art Book and Best of Show - 2018 New Mexico-Arizona Book Award Born in San Diego in 1946 and raised in the American Southwest, painter Paul Pletka has created a body of work that owes much to the West of his childhood, and more to the West of his imagination. Infused with an operatic sense of theater and drama, his paintings conjure scenes from the cultures, history, and religions of the American West and Mexico - diffused, as Pletka writes, ""through the lens of personal experiences, dreams, research, and ancestral memory."" In Paul Pletka: Imagined Wests, the first book on this major American artist in over thirty years, readers will encounter the full range of Pletka's oeuvre through more than eighty color reproductions of his best-known and most influential works. Images of warriors and shamans are paired with depictions of George Armstrong Custer, Christian saints, and the lost gods of North and South America, their forms rendered in a distinctive style that mixes classical drawing and expressionist distortion with elements of surrealism and European symbolism. An artist statement and notes on selected paintings provide rare insight into Pletka's creative process, and an introductory essay by art historian Amy Scott discusses how Pletka's studies of indigenous cultures of the American West and Mexico, as well as art historical and critical influences, have informed his work. Complex, mysterious, and mesmerizing, Pletka's paintings are designed to make it almost impossible to look away. In their boldly conceived subject matter, vivid color, and ethnographic detail, these works - and their creator - are true originals in the rich artistic landscape of the American West.