As an Agent of Death, Madeline Black deals with loss every day. But when tragedy touches her own life, Maddy will have to find the strength within to carry on… Devastated and grieving, Maddy unexpectedly finds hope with the discovery that she is pregnant. But Maddy’s joy is short lived when Lucifer informs her that he wants the baby, hoping to draw on the combined power of two of his bloodlines. Maddy is determined that her grandfather will never have her child, but she’s not sure what she can do to stop him. Being pregnant is stressful enough, but Maddy suddenly finds herself at odds with the Agency—forbidden from meddling in the affairs of the supernatural courts. When a few of her soul collections go awry, Maddy begins to suspect that the Agency wants to terminate her employment. They should know by now that she isn’t the sort to give up without a fight…
Representing two generations of counselor education and practice, Megan Anna Neff and Mark McMinn provide practitioners with a fresh look at integration in a postmodern world. Modeling how to engage hard questions, they consider how different theological views, gendered perspectives, and cultures integrate with psychology and counseling.
A Wall Street Journal Best Book of 2018 In the tradition of Patrick Leigh Fermor and Geoff Dyer, a Grammy-winning producer discovers a powerful and ancient folk music tradition. In a gramophone shop in Istanbul, renowned record collector Christopher C. King uncovered some of the strangest—and most hypnotic—sounds he had ever heard. The 78s were immensely moving, seeming to tap into a primal well of emotion inaccessible through contemporary music. The songs, King learned, were from Epirus, an area straddling southern Albania and northwestern Greece and boasting a folk tradition extending back to the pre-Homeric era. To hear this music is to hear the past. Lament from Epirus is an unforgettable journey into a musical obsession, which traces a unique genre back to the roots of song itself. As King hunts for two long-lost virtuosos—one of whom may have committed a murder—he also tells the story of the Roma people who pioneered Epirotic folk music and their descendants who continue the tradition today. King discovers clues to his most profound questions about the function of music in the history of humanity: What is the relationship between music and language? Why do we organize sound as music? Is music superfluous, a mere form of entertainment, or could it be a tool for survival? King’s journey becomes an investigation into song and dance’s role as a means of spiritual healing—and what that may reveal about music’s evolutionary origins.
Geoffrey Chaucer was arguably fourteenth-century England's greatest poet. In the nineteenth century, readers of Chaucer's early dream poems - the Book of the Duchess, House of Fame, and Parliament of Fowles - began to detect a tripartite model of his artistic development from a French to an Italian, and finally to an English phase. They fleshed out this model with the liberation narrative, the inspiring story of how Chaucer escaped the emasculating French house of bondage to become the generative father of English poetry. Although this division has now largely been dismissed, both the tripartite model and the accompanying liberation narrative persist in Chaucer criticism. In Chaucer's Queer Poetics, Susan Schibanoff interrogates why the tripartite model remains so tenacious even when literary history does not support it. Revealing deeply rooted Francophobic, homophobic, and nationalistic biases, Schibanoff examines the development paradigm and demonstrates that 'liberated Chaucer' depends on antiquated readings of key source texts for the dream trilogy. This study challenges the long held view the Chaucer fled the prison of effete French court verse to become the 'natural' English father poet and charts a new model of Chaucerian poetic development that discovers the emergence of a queer aesthetic in his work.
Blacks of the Rosary tells the story of the Afro-Brazilian communities that developed within lay religious brotherhoods dedicated to Our Lady of the Rosary in Minas Gerais. It shows how these brotherhoods functioned as a social space in which Africans and their descendants could rebuild a communal identity based on a shared history of an African past and an ongoing devotional practice, thereby giving rise to enduring transnational cultures that have survived to the present day. In exploring this intersection of community, identity, and memory, the book probes the Portuguese and African contributions to the brotherhoods in Part One. Part Two traces the changes and continuities within the organizations from the early eighteenth century to the end of the Brazilian Empire, and the book concludes in Part Three with discussion of the twentieth-century brotherhoods and narratives of the participants in brotherhood festivals in the 1990s. In a larger sense, the book serves as a case study through which readers can examine the strategies that Afro-Brazilians used to create viable communities in order to confront the asymmetry of power inherent in the slave societies of the Americas and their economic and social marginalization in the twentieth century.
Daughters of the Diaspora features the creative writing of 20 Hispanophone women of African descent, as well as the interpretive essays of 15 literary critics. The collection is unique in its combination of genres, including poetry, short stories, essays, excerpts from novels and personal narratives, many of which are being translated into English for the first time. They address issues of ethnicity, sexuality, social class and self-representation and in so doing shape a revolutionary discourse that questions and subverts historical assumptions and literary conventions. Miriam DeCosta-Willis's comprehensive Introduction, biographical sketches of the authors and their chronological arrangement within the text, provide an accessible history of the evolution of an Afra-Hispanic literary tradition in the Caribbean, Africa and Latin America. The book will be useful as textbook in courses in Africana Studies, Women's Studies, Caribbean, Latina and Latin American Studies as well as courses in literature and the humanities.
Elizabeth Donaheys Traversing Regression is a collection of poems written during the 1990s. Th e anthology is absolutely fascinating. The poems are generally brief, free-form and thematic. The language and the imagery are beautiful, powerful, and impressionistic such as the poem Provence, France. Nature inspires much of the imagery, from rose blossoms to blue heavens, moonlight, trembling trees Donahey writes in the Romantic tradition of Wordsworth and Byron (to whom the longest poem in the book, Breath for Byron, is an ode), but I cant help being reminded of the Poetes Maudits as well as Beaudelaire, Verlaine, Rimbaud, and Mallarm. The love motif is present in a majority of the pieces, abstractly in "Peasant Girl," and "Disturb the Universe," and more specifically, in the later poems, where she expresses love or admiration for a specifi c individual. There is also a great deal of pain and sorrow. Dark themes - death, abandonment - abound ("Can I Walk," "Drifting Ugly through Algebraic Language," "Blue Finger Baby Frozen Ashes," Winter Whines," and they are sometimes self-referential "Against my Constant Mirrors Refl ection." Consequently, the poetrys most exciting feature is the juxtaposition of contrasts, for example love and death in Kissing Death on the Lips. We even find sophisticated sociological themes such as race relations, as in "You Are Your Own Victims" and "The Black One." The collection is more or less chronological, and it seems to refl ect Elizabeths spiritual growth. The later poems seem sunnier, expressing more uncomplicated love, as in "Elevated" and "Love song." This series of poems exudes authenticity and existential truth. It is the revelation of a persons inner quest. It is gripping and strongly evocative. It is a glimpse into Elizabeths soul. Reading her poems, we learn to know her, and to love her. Dr. Tom Kando, PhD, Professor of Sociology, Emeritus