Today, two cultural forces are converging to make America's youth easy targets for sex traffickers. Younger and younger girls are engaging in adult sexual attitudes and practices, and the pressure to conform means thousands have little self-worth and are vulnerable to exploitation. At the same time, thanks to social media, texting, and chatting services, predators are able to ferret out their victims more easily than ever before. In "Walking Prey," advocate and former victim Holly Austin Smith shows how middle class suburban communities are fast becoming the new epicenter of sex trafficking in America. Smith speaks from experience: Without consistent positive guidance or engagement, Holly was ripe for exploitation at age fourteen. A chance encounter with an older man led her to run away from home, and she soon found herself on the streets of Atlantic City. Her experience led her, two decades later, to become one of the foremost advocates for trafficking victims. Smith argues that these young women should be treated as victims by law enforcement, but that too often the criminal justice system lacks the resources and training to prevent the vicious cycle of prostitution. This is a clarion call to take a sharp look at one of the most striking human rights abuses, and one that is going on in our own backyard.

Jace had the prince in his hand and was seconds away from slaughtering the last member of the royal bloodline who had for so long oppressed or killed people like Jace. Now he had the power to stop it. Jace wanted to see the eyes of the prince as his soul was drained, but that's when he saw something-something different. In this boy's eyes he saw something that he used to see in himself. Jace dropped the prince, turned on his heel, and started to walk away. As he walked, the remaining blood of the slain swirled around him as its power entered him. He had to think. Something was wrong. He created a portal from the remaining blood that he didn't suck power from, and before he entered, he turned to the prince. "I am Jace. I am no god, but a mortal," and with that he stepped into the portal.

A new collection about violence and the rural Midwest from a poet whose first book was hailed as “memorable” (Stephanie Burt, Yale Review) and “impressive” (Chicago Tribune) Flyover Country is a powerful collection of poems about violence: the violence we do to the land, to animals, to refugees, to the people of distant countries, and to one another. Drawing on memories of his childhood on a dairy farm in Illinois, Austin Smith explores the beauty and cruelty of rural life, challenging the idea that the American Midwest is mere “flyover country,” a place that deserves passing over. At the same time, the collection suggests that America itself has become a flyover country, carrying out drone strikes and surveillance abroad, locked in a state of perpetual war that Americans seem helpless to stop. In these poems, midwestern barns and farmhouses are linked to other lands and times as if by psychic tunnels. A poem about a barn cat moving her kittens in the night because they have been discovered by a group of boys resonates with a poem about the house in Amsterdam where Anne Frank and her family hid from the Nazis. A poem beginning with a boy on a farmhouse porch idly swatting flies ends with the image of people fleeing before a drone strike. A poem about a barbwire fence suggests, if only metaphorically, the debate over immigration and borders. Though at times a dark book, the collection closes with a poem titled “The Light at the End,” suggesting the possibility of redemption and forgiveness. Building on Smith’s reputation as an accessible and inventive poet with deep insights about rural America, Flyover Country also draws profound connections between the Midwest and the wider world.

This book is the first major study of Canadian women filmmakers since the groundbreaking "Gendering the Nation" (1999). "The Gendered Screen" updates the subject with discussions of important filmmakers such as Deepa Mehta, Anne Wheeler, Mina Shum, Lynne Stopkewich, Lea Pool, and Patricia Rozema, whose careers have produced major bodies of work. It also introduces critical studies of newer filmmakers such as Andrea Dorfman and Sylvia Hamilton and new media video artists.

Feminist scholars are re-examining the ways in which authorship, nationality, and gender interconnect. Contributors to this volume emphasize a diverse feminist study of film that is open, inclusive, and self-critical. Issues of hybridity and transnationality as well as race and sexual orientation challenge older forms of discourse on national cinema. Essays address the transnational filmmaker, the queer filmmaker, the feminist filmmaker, the documentarist, and the video artist--just some of the diverse identities of Canadian women filmmakers working in both commercial and art cinema today.

"Almanac" is a collection of lyrical and narrative poems that celebrate, and mourn the passing of, the world of the small family farm. But while the poems are all involved in some way with the rural Midwest, particularly with the people and land of the northwestern Illinois dairy farm where Austin Smith was born and raised, they are anything but merely regional. As the poems reflect on farm life, they open out to speak about childhood and death, the loss of tradition, the destruction of the natural world, and the severing of connections between people and the land.

This collection also reflects on a long poetic apprenticeship. Smith's father is a poet himself, and "Almanac" is in part a meditation about the responsibility of the poet, especially the young poet, when it falls to him to speak for what is vanishing. To quote another Illinois poet, Thomas James, Smith has attempted in this book to write poems "clear as the glass of wine / on his] father's table every Christmas Eve." By turns exhilarating and disquieting, this is a remarkable debut from a distinctive new voice in American poetry.
______

From "Almanac"
THE MUMMY IN THE FREEPORT ART MUSEUM
"Austin Smith"

Amongst the masterpieces of the small-town
Picassos and Van Goghs and photographs
of the rural poor and busts of dead Greeks
or the molds of busts donated by the Art
Institute of Chicago to this dying
town's little museum, there was a mummy,
a real mummy, laid out in a dim-lit
room by himself. I used to go
to the museum just to visit him, a pharaoh
who, expecting an afterlife
of beautiful virgins and infinite food
and all the riches and jewels
he'd enjoyed in earthly life,
must have wondered how the hell
he'd ended up in Freeport, Illinois.
And I used to go alone into that room
and stand beside his sarcophagus and say,
"My friend, I've asked myself the same thing."

Jace had the prince in his hand and was seconds away from slaughtering the last member of the royal bloodline who had for so long oppressed or killed people like Jace. Now he had the power to stop it. Jace wanted to see the eyes of the prince as his soul was drained, but that's when he saw something-something different. In this boy's eyes he saw something that he used to see in himself. Jace dropped the prince, turned on his heel, and started to walk away. As he walked, the remaining blood of the slain swirled around him as its power entered him. He had to think. Something was wrong. He created a portal from the remaining blood that he didn't suck power from, and before he entered, he turned to the prince. "I am Jace. I am no god, but a mortal," and with that he stepped into the portal.

Title: A bishop in the church of God: the story of Eastern Oregon.Author: William Austin SmithPublisher: Gale, Sabin Americana Description: Based on Joseph Sabin's famed bibliography, Bibliotheca Americana, Sabin Americana, 1500--1926 contains a collection of books, pamphlets, serials and other works about the Americas, from the time of their discovery to the early 1900s. Sabin Americana is rich in original accounts of discovery and exploration, pioneering and westward expansion, the U.S. Civil War and other military actions, Native Americans, slavery and abolition, religious history and more.Sabin Americana offers an up-close perspective on life in the western hemisphere, encompassing the arrival of the Europeans on the shores of North America in the late 15th century to the first decades of the 20th century. Covering a span of over 400 years in North, Central and South America as well as the Caribbean, this collection highlights the society, politics, religious beliefs, culture, contemporary opinions and momentous events of the time. It provides access to documents from an assortment of genres, sermons, political tracts, newspapers, books, pamphlets, maps, legislation, literature and more.Now for the first time, these high-quality digital scans of original works are available via print-on-demand, making them readily accessible to libraries, students, independent scholars, and readers of all ages.++++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: ++++SourceLibrary: Huntington LibraryDocumentID: SABCP03199100CollectionID: CTRG00-B216PublicationDate: 19220101SourceBibCitation: Selected Americana from Sabin's Dictionary of books relating to AmericaNotes: "Reprinted from The Churchman, issue of August 5, 1922."--P. 5.Collation: 5-22 p

A new collection about violence and the rural Midwest from a poet whose first book was hailed as "memorable" (Stephanie Burt, Yale Review) and "impressive" (Chicago Tribune) Flyover Country is a powerful collection of poems about violence: the violence we do to the land, to animals, to refugees, to the people of distant countries, and to one another. Drawing on memories of his childhood on a dairy farm in Illinois, Austin Smith explores the beauty and cruelty of rural life, challenging the idea that the American Midwest is mere "flyover country," a place that deserves passing over. At the same time, the collection suggests that America itself has become a flyover country, carrying out drone strikes and surveillance abroad, locked in a state of perpetual war that Americans seem helpless to stop. In these poems, midwestern barns and farmhouses are linked to other lands and times as if by psychic tunnels. A poem about a barn cat moving her kittens in the night because they have been discovered by a group of boys resonates with a poem about the house in Amsterdam where Anne Frank and her family hid from the Nazis. A poem beginning with a boy on a farmhouse porch idly swatting flies ends with the image of people fleeing before a drone strike. A poem about a barbwire fence suggests, if only metaphorically, the debate over immigration and borders. Though at times a dark book, the collection closes with a poem titled "The Light at the End," suggesting the possibility of redemption and forgiveness. Building on Smith's reputation as an accessible and inventive poet with deep insights about rural America, Flyover Country also draws profound connections between the Midwest and the wider world.