In the new Republic of Texas, guns are compulsory and nothing is forgiven. Blue Running is a gripping coming-of-age thriller set in post-secessionist Texas. For fans of Station Eleven and Thelma and Louise. Fourteen-year-old Bluebonnet Andrews is on the run across the Republic of Texas. An accident with a gun killed her best friend but everyone in the town of Blessing thinks it was murder. Even her father - the town's drunken deputy - believes she did it. Now, she has no choice but to run. In Texas, murder is punishable by death. There's no one to help her. Her father is incapable and her mother left the state on the last flight to America before the secession. Blue doesn't know where she is but she's determined to track her down. First she has to get across the lawless Republic and over the wall that keeps everyone in. On the road she meets Jet, a pregnant young woman of Latin American heritage. Jet is secretive about her past but she's just as determined as Blue to get out of Texas before she's caught and arrested. Together, the two form an unlikely kinship as they make their way past marauding motorcycle gangs, the ever watchful Texas Rangers, and armed strangers intent on abducting them - or worse. When Blue and Jet finally reach the wall, will they be able to cross the border, or will they be shot down in cold blood like the thousands who have gone before them? Some things are worth dying for.

This book brings together two vitally important strands of 20th-century thinking to establish a set of simple and elegant principles for planning, project design and evaluation. It explains the backgrounds of cultural ecofeminism and critical systems thinking, and what we find when they are systematically compared. Both theories share a range of concepts, have a strong social justice ethic, and challenge the legacy of modernity. The book takes theory into practice. The value of the emergent principles of feminist-systems thinking are described and demonstrated through four chapters of case studies in community development settings. The principles can be used to influence project design and outcomes across a range of disciplines including project management, policy, health, education, and community development. This book has much to offer practitioners who seek to create more socially just and equitable project and research outcomes.

This book brings together two vitally important strands of 20th-century thinking to establish a set of simple and elegant principles for planning, project design and evaluation. It explains the backgrounds of cultural ecofeminism and critical systems thinking, and what we find when they are systematically compared. Both theories share a range of concepts, have a strong social justice ethic, and challenge the legacy of modernity. The book takes theory into practice. The value of the emergent principles of feminist-systems thinking are described and demonstrated through four chapters of case studies in community development settings. The principles can be used to influence project design and outcomes across a range of disciplines including project management, policy, health, education, and community development. This book has much to offer practitioners who seek to create more socially just and equitable project and research outcomes.

In the new Republic of Texas, guns are compulsory and nothing is forgiven. Blue Running is a gripping coming-of-age thriller set in post-secessionist Texas. For fans of Station Eleven and Thelma and Louise. Fourteen-year-old Bluebonnet Andrews is on the run across the Republic of Texas. An accident with a gun killed her best friend but everyone in the town of Blessing thinks it was murder. Even her father - the town's drunken deputy - believes she did it. Now, she has no choice but to run. In Texas, murder is punishable by death. There's no one to help her. Her father is incapable and her mother left the state on the last flight to America before the secession. Blue doesn't know where she is but she's determined to track her down. First she has to get across the lawless Republic and over the wall that keeps everyone in. On the road she meets Jet, a pregnant young woman of Latin American heritage. Jet is secretive about her past but she's just as determined as Blue to get out of Texas before she's caught and arrested. Together, the two form an unlikely kinship as they make their way past marauding motorcycle gangs, the ever watchful Texas Rangers, and armed strangers intent on abducting them - or worse. When Blue and Jet finally reach the wall, will they be able to cross the border, or will they be shot down in cold blood like the thousands who have gone before them? Some things are worth dying for.

Title: The Portland Sketch Book. Edited by Mrs. A. S. S.Publisher: British Library, Historical Print EditionsThe British Library is the national library of the United Kingdom. It is one of the world's largest research libraries holding over 150 million items in all known languages and formats: books, journals, newspapers, sound recordings, patents, maps, stamps, prints and much more. Its collections include around 14 million books, along with substantial additional collections of manuscripts and historical items dating back as far as 300 BC.The HISTORY OF COLONIAL NORTH AMERICA collection includes books from the British Library digitised by Microsoft. This collection refers to the European settlements in North America through independence, with emphasis on the history of the thirteen colonies of Britain. Attention is paid to the histories of Jamestown and the early colonial interactions with Native Americans. The contextual framework of this collection highlights 16th century English, Scottish, French, Spanish, and Dutch expansion. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++ British Library Stephens, Ann; 1836. 12 . 10408.c.27.

In "Skin Acts," Michelle Ann Stephens explores the work of four iconic twentieth-century black male performers--Bert Williams, Paul Robeson, Harry Belafonte, and Bob Marley--to reveal how racial and sexual difference is both marked by and experienced in the skin. She situates each figure within his cultural moment, examining his performance in the context of contemporary race relations and visual regimes. Drawing on Lacanian psychoanalysis and performance theory, Stephens contends that while black skin is subject to what Frantz Fanon called the epidermalizing and hardening effects of the gaze, it is in the flesh that other--intersubjective, pre-discursive, and sensuous--forms of knowing take place between artist and audience. Analyzing a wide range of visual, musical, and textual sources, Stephens shows that black subjectivity and performativity are structured by the tension between skin and flesh, sight and touch, difference and sameness.

This brief book focuses on the Gothic elements that help to shape and define literature of the American South and on how these elements are incorporated into Southern literature through overt use of the grotesque. After exploring the foundations of what may be loosely termed the Southern Grotesque, this work analyzes two literary themes that have played major roles in the evolution of Southern fiction, which often centers on women and the roles they play in Southern society: coming-of-age themes and motherhood themes. Coming-of-age themes trace the lives of adolescent girls who grow up in Southern culture, come of age spiritually in the South, and search for identity, while motherhood themes track the influence (both productive and destructive) of Southern women who are thrust into motherhood. This book also examines the Grotesque and Gothic connections among the authors of Southern literature, in particular Zora Neale Hurston, William Faulkner, Carson McCullers, Flannery OConnor, Alice Walker, and Toni Morrison. These writers of the grotesque tradition have influenced my own novel-writing, to which I refer in the last chapter, a study of the creative process.

This first anthology of modernist art, design and architecture in Australia reveals the raw nerves that modernism exposed and highlights the role of migrants, expatriates, travel and mass reproduction in the reception of modernism in Australia. In more than two hundred documents - talks, letters, fiery debates, public manifestoes and private diaries - the main players of the time (1917-67) convey in their own words the tensions, aspirations and paradoxes behind the reception of modernism. Each document is put in context and accompanied by expert commentaries from the editors. The collection overturns many key assumptions about Australian culture, revealing not a 'time-lag' in reception, but an up-to-date engagement with the latest overseas trends and developments. It shows a surprising acceptance of modernism in the commercial realms (design, fashion, interior decoration), yet chronicles the dogged institutional resistance that greeted modernism, particularly in the fine arts.

Bauhaus Diaspora and Beyond presents an extraordinary new Australasian cultural history. It is a migrant and refugee story: from 1930, the arrival of so many emigre, internee and refugee educators helped to transform art, architecture and design in Australia and New Zealand. Fifteen thematic essays and twenty individual case studies bring to light a tremendous amount of new archival material in order to show how these innovative educators, exiled from Nazism, introduced Bauhaus ideas and models to a new world.

In "Skin Acts," Michelle Ann Stephens explores the work of four iconic twentieth-century black male performers--Bert Williams, Paul Robeson, Harry Belafonte, and Bob Marley--to reveal how racial and sexual difference is both marked by and experienced in the skin. She situates each figure within his cultural moment, examining his performance in the context of contemporary race relations and visual regimes. Drawing on Lacanian psychoanalysis and performance theory, Stephens contends that while black skin is subject to what Frantz Fanon called the epidermalizing and hardening effects of the gaze, it is in the flesh that other--intersubjective, pre-discursive, and sensuous--forms of knowing take place between artist and audience. Analyzing a wide range of visual, musical, and textual sources, Stephens shows that black subjectivity and performativity are structured by the tension between skin and flesh, sight and touch, difference and sameness.

Departing from conventional narratives of the United States and the Americas as fundamentally continental spaces, the contributors to Archipelagic American Studies theorize America as constituted by and accountable to an assemblage of interconnected islands, archipelagoes, shorelines, continents, seas, and oceans. They trace these planet-spanning archipelagic connections in essays on topics ranging from Indigenous sovereignty to the work of Edouard Glissant, from Philippine call centers to US militarization in the Caribbean, and from the great Pacific garbage patch to enduring overlaps between US imperialism and a colonial Mexican archipelago. Shaking loose the straitjacket of continental exceptionalism that hinders and permeates Americanist scholarship, Archipelagic American Studies asserts a more relevant and dynamic approach for thinking about the geographic, cultural, and political claims of the United States within broader notions of America. Contributors Birte Blascheck, J. Michael Dash, Paul Giles, Susan Gillman, Matthew Pratt Guterl, Hsinya Huang, Allan Punzalan Isaac, Joseph Keith, Yolanda Martinez-San Miguel, Brandy Nalani McDougall, Ifeoma Kiddoe Nwankwo, Craig Santos Perez, Brian Russell Roberts, John Carlos Rowe, Cherene Sherrard-Johnson, Ramon E. Soto-Crespo, Michelle Ann Stephens, Elaine Stratford, Etsuko Taketani, Alice Te Punga Somerville, Teresia Teaiwa, Lanny Thompson, Nicole A. Waligora-Davis

In Black Empire, Michelle Ann Stephens examines the ideal of "transnational blackness" that emerged in the work of radical black intellectuals from the British West Indies in the early twentieth century. Focusing on the writings of Marcus Garvey, Claude McKay, and C. L. R. James, Stephens shows how these thinkers developed ideas of a worldwide racial movement and federated global black political community that transcended the boundaries of nation-states. Stephens highlights key geopolitical and historical events that gave rise to these writers' intellectual investment in new modes of black political self-determination. She describes their engagement with the fate of African Americans within the burgeoning U.S. empire, their disillusionment with the potential of post-World War I international organizations such as the League of Nations to acknowledge, let alone improve, the material conditions of people of color around the world, and the inspiration they took from the Bolshevik Revolution, which offered models of revolution and community not based on nationality.Stephens argues that the global black political consciousness she identifies was constituted by both radical and reactionary impulses. On the one hand, Garvey, McKay, and James saw freedom of movement as the basis of black transnationalism. The Caribbean archipelago-a geographic space ideally suited to the free movement of black subjects across national boundaries-became the metaphoric heart of their vision. On the other hand, these three writers were deeply influenced by the ideas of militarism, empire, and male sovereignty that shaped global political discourse in the early twentieth century. As such, their vision of transnational blackness excluded women's political subjectivities. Drawing together insights from American, African American, Caribbean, and gender studies, Black Empire is a major contribution to ongoing conversations about nation and diaspora.

Relational Undercurrents accompanies an exhibition curated by Tatiana Flores for the Museum of Latin American Art in Long Beach, California, which forms part of the Getty Foundation's Pacific Standard Time: LA/LA. This initiative examines the artistic legacy of Latin America and U.S. Latinos through a series of exhibitions and related programs. This exhibition catalog and volume edited by Flores and Michelle Ann Stephens calls attention to the artistic production of the Caribbean islands and their diasporas, challenging the conventional geographic and conceptual boundaries of Latin America. The editors offer an "archipelagic model," which proposes a mapping of the Caribbean from the perspective of its islands as distinct from its continental coasts. The exhibition, organized around the four themes of Conceptual Mappings, Perpetual Horizons, Landscape Ecologies, and Representational Acts, highlights thematic continuities in the art of the insular Caribbean, placing Hispanophone artists in visual conversation with those from Anglophone, Francophone, Dutch, and Danish backgrounds. It includes over eighty artists, among them Tania Bruguera, Allora & Calzadilla, Christopher Cozier, Jorge Pineda, Edouard Duval-Carrie, and Ebony G. Patterson. In accompanying essays, curators, critics, and scholars discuss particular artistic traditions in Cuban, Puerto Rican, Dominican, and Haitian art and theorize the broader decolonial and archipelagic conceptual frameworks within which such works are produced. Relational Undercurrents will be on display that the Museum of Latin American Art from September 2017 through January 2018. Publication by the Museum of Latin American Art in collaboration with Fresco Books / SF Design, LLC. Distributed by Duke University Press.

Relational Undercurrents accompanies an exhibition curated by Tatiana Flores for the Museum of Latin American Art in Long Beach, California, which forms part of the Getty Foundation's Pacific Standard Time: LA/LA. This initiative examines the artistic legacy of Latin America and U.S. Latinos through a series of exhibitions and related programs. This exhibition catalog and volume edited by Flores and Michelle Ann Stephens calls attention to the artistic production of the Caribbean islands and their diasporas, challenging the conventional geographic and conceptual boundaries of Latin America. The editors offer an "archipelagic model," which proposes a mapping of the Caribbean from the perspective of its islands as distinct from its continental coasts. The exhibition, organized around the four themes of Conceptual Mappings, Perpetual Horizons, Landscape Ecologies, and Representational Acts, highlights thematic continuities in the art of the insular Caribbean, placing Hispanophone artists in visual conversation with those from Anglophone, Francophone, Dutch, and Danish backgrounds. It includes over eighty artists, among them Tania Bruguera, Allora & Calzadilla, Christopher Cozier, Jorge Pineda, Edouard Duval-Carrie, and Ebony G. Patterson. In accompanying essays, curators, critics, and scholars discuss particular artistic traditions in Cuban, Puerto Rican, Dominican, and Haitian art and theorize the broader decolonial and archipelagic conceptual frameworks within which such works are produced. Relational Undercurrents will be on display that the Museum of Latin American Art from September 2017 through January 2018. Publication by the Museum of Latin American Art in collaboration with Fresco Books / SF Design, LLC. Distributed by Duke University Press.

Departing from conventional narratives of the United States and the Americas as fundamentally continental spaces, the contributors to Archipelagic American Studies theorize America as constituted by and accountable to an assemblage of interconnected islands, archipelagoes, shorelines, continents, seas, and oceans. They trace these planet-spanning archipelagic connections in essays on topics ranging from Indigenous sovereignty to the work of Edouard Glissant, from Philippine call centers to US militarization in the Caribbean, and from the great Pacific garbage patch to enduring overlaps between US imperialism and a colonial Mexican archipelago. Shaking loose the straitjacket of continental exceptionalism that hinders and permeates Americanist scholarship, Archipelagic American Studies asserts a more relevant and dynamic approach for thinking about the geographic, cultural, and political claims of the United States within broader notions of America. Contributors Birte Blascheck, J. Michael Dash, Paul Giles, Susan Gillman, Matthew Pratt Guterl, Hsinya Huang, Allan Punzalan Isaac, Joseph Keith, Yolanda Martinez-San Miguel, Brandy Nalani McDougall, Ifeoma Kiddoe Nwankwo, Craig Santos Perez, Brian Russell Roberts, John Carlos Rowe, Cherene Sherrard-Johnson, Ramon E. Soto-Crespo, Michelle Ann Stephens, Elaine Stratford, Etsuko Taketani, Alice Te Punga Somerville, Teresia Teaiwa, Lanny Thompson, Nicole A. Waligora-Davis