Awareness to Citizenship, guides environmental educators, teachers, and parents, through the process of helping children to learn about the environment, respect living things, examine issues, make decisions, think critically, and become actively engaged as citizens within a community. The authors draw on a balanced range of experience and case studies to make this an invaluable resource.

Hellraiser meets Black history as the Box of Bones exacts revenge throughout time and space. When Black graduate student Lyndsey begins her dissertation work on a mysterious box that pops up during the most violent and troubled time in Africana history, she has no idea that her research will lead her on a phantasmagorical journey from West Philadelphia riots to Haitian slave uprisings. Wherever Lyndsey finds someone who has seen the Box, chaos ensues. Soon, even her own sanity falls into question. In the end, Lyndsey will have to decide if she really wants to see what's inside the Box of Bones. Described as "Tales from the Crypt Meets Black History," Box of Bones is a supernatural nightmare tour through some of the most violent and horrific episodes in the African Diaspora. Ayize Jama-Everett and John Jennings have assembled a talented group of artists for this ten-issue project, including cover artist, Stacey Robinson (I Am Alfonso Jones), David Brame (MediSIN), Avy Jetter (APB: Artists against Police Brutality), and Tim Fielder (Matty's Rocket).

One hundred years after the Tulsa Race Massacre, Across the Tracks is a celebration and memorial of Greenwood, Oklahoma In Across the Tracks: Remembering Greenwood, Black Wall Street, and the Tulsa Race Massacre, author Alverne Ball and illustrator Stacey Robinson have crafted a love letter to Greenwood, Oklahoma. Also known as Black Wall Street, Greenwood was a community whose importance is often overshadowed by the atrocious massacre that took place there in 1921. Across the Tracks introduces the reader to the businesses and townsfolk who flourished in this unprecedented time of prosperity for Black Americans. We learn about Greenwood and why it is essential to remember the great achievements of the community as well as the tragedy which nearly erased it. However, Ball is careful to recount the eventual recovery of Greenwood. With additional supplementary materials including a detailed preface, timeline, and historical essay, Across the Tracks offers a thorough examination of the rise, fall, and rebirth of Black Wall Street.

PRISON INDUSTRIAL COMPLEX FOR BEGINNERS is a graphic narrative project that attempts to distill the fundamental components of what scholars, activists and artists have identified as the Mass Incarceration movement in the United States. As far back as the early 1990s, activist critics of the US prison system, marked its emergence as a complex in a manner comparable to how President Eisenhower marked the Military Industrial Complex. Like its institutional cousin, the Prison Industrial Complex features a critical combination of political ideology, far-reaching federal policy and the neo-liberal directive to privatise institutions traditionally within the purview of the government.

The Prison Industrial Complex relies on the law and order ideology fomented by President Nixon and developed at least partially in response to the unrest generated through the Civil Rights Movement. It is (and has been) enhanced and emboldened via the US war on drugs, a slate of policies that by any account have failed to do anything except normalise the warehousing of nonviolent substance abusers in jails and prisons that serve more as criminal training centres then as redemptive spaces for citizens who might re-enter society successfully. Sadly, this mix of ideology, policy and privatisation has facilitated the US leading the world in the rate at which it incarcerates its own citizens.

PRISON INDUSTRIAL COMPLEX FOR BEGINNERS is a primer for how these issues emerged and how our awareness of the systems at work in mass incarceration might be the first step in reforming an institution responsible for some of our most egregious contemporary civil rights violations.

This book is specially designed in Amazon's fixed-layout KF8 format with region magnification. Double-tap on an area of text to zoom and read. When Black graduate student Lyndsey begins her dissertation work on a mysterious box that pops up during the most violent and troubled time in Africana history, she has no idea that her research will lead her on a phantasmagorical journey from West Philadelphia riots to Haitian slave uprisings. Wherever Lyndsey finds someone who has seen the Box, chaos ensues. Soon, even her own sanity falls into question. In the end, Lyndsey will have to decide if she really wants to see what's inside the Box of Bones. Described as "Tales from the Crypt Meets Black History," Box of Bones is a supernatural nightmare tour through some of the most violent and horrific episodes in the African Diaspora. Jama-Everett and Jennings have assembled a talented group of artists for this ten-issue project, including cover artist, Stacey Robinson ( I Am Alfonso Jones ), David Brame ( MediSIN ), Avy Jetter ( APB: Artists against Police Brutality ), and Tim Fielder ( Matty's Rocket ). The first issue (penciled by Jennings) will appear digitally later this fall with the first five-issue trade paperback appearing in late summer 2018.

A catalog of primarily visual artworks-on-paper, this collection is the work of a creative duo that makes up the collaborative entity, Black Kirby. Their art celebrates the groundbreaking work of legendary comic creator Jack Kirby and functions as a highly syncretic mytho-poetic framework by appropriating Kirby's bold forms and revolutionary ideas combined with themes centered on AfroFuturism, social justice, Black history, media criticism, science fiction, magical realism, and the utilization of Hip Hop culture as a methodology for creating visual expression. Their work also focuses on the digital medium: how its inherent affordances offer much more flexibility in the expression of visual communication and what that means in its production and consumption in the public sphere. In a sense, Black Kirby appropriates the gallery as a conceptual crossroads to examine identity as a socialized concept, and to show the commonalities between Black comics creators and Jewish comics creators and how both utilize the medium of comics as space of resistance. The duo attempts to re-medicate blackness and other identity contexts as sublime technologies that produce experiences that can limit human progress and possibility.