My Grandfather's Altar is an oral-literary narrative account of Richard Moves Camp's family history and traditions.

My Grandfather’s Mill – Journey to Freedom is a true story — part history, part biography. It focuses on two families and their two infant children, Andrew and Chrystyna, born in Western Ukraine at the height of the Second World War. Their parents fought for Ukrainian independence throughout the years of Polish occupation, the invasion of Stalin’s Bolshevik forces and during the years of Hitler’s Nazi terror. Members of both their families were murdered by one or another of the occupying armies. Family accounts of concentration camps, refugee camps; of war crimes, brutality and uncertainty, of hope, courage and unexpected generosity are interwoven with the historical realities of the time. They were among the lucky ones who found freedom in North America. Half a century after they left their homeland, Andrew and Chrystyna returned. They discovered the villages of their birth, found family members they didn’t know existed, experienced their culture fi rst-hand and fi nally began to make sense of their place in history. This book is written for future generations, for all those who have lived in two very different worlds, for victims of wars, present day refugees, immigrants and especially for those who were born and have always lived in a free country and never experienced the horrors of war.

Offers a new interpretation of the lynching of Sam Hose through the lens of the religious culture in the evangelical American South.

The Nguyen of Kim Bai (a village in the Red River delta in Vietnam) traces its ancestry back to at least the 15th century. The region is also considered to be the birthplace of the Vietnamese race (the epic revolt of the Trung sisters against the Chinese occupiers occurred here). The Nguyen family chronicle since 1600, preserved through war and exile, was written (in Chinese script) by the author's grandfather. This document (kept in Nguyen's ancestors' altar) is quoted liberally. A clear and unique picture of Vietnamese personality and culture is provided.

“Jennie’s blend of witchcraft and hygge resonates so deeply with me. In Hearth and Home Witchcraft, Jennie’s book is a joyful and supportive exploration of domestic witchcraft. Nourishment and comfort are important themes here, as is accessibility; you don't need a background in magick to start exploring hearth-craft.” —Arin Murphy-Hiscock, author of The Green Witch, The House Witch, and other books For author Jennie Blonde, witchcraft is, in and of itself, comforting. Sure, there are not-so-comfortable parts as well—working with the shadow, coming face to face with that which holds you back. Jennie’s witchcraft is about connecting with the magic of nature, your higher self, and something beyond—a deity, deities, Spirit, the universe—and being comfortable with your true self in all aspects of your life. “In times of anxiety,” Jennie writes, “I turn to my practice. When I need a moment of calm and reflection, I retreat to my sacred space for quiet meditation, pulling tarot cards, and journaling to nourish my soul. When I want to nourish my family, I turn to my garden and herbs and cauldron (my stockpot) for a bit of kitchen witchery. When I wish to nourish my body, I turn to mindful movement, self-care rituals, and spell work. And throughout the day, every day, there are small rituals I perform to keep me connected to my practice. It’s all of those things together that are the heart of my craft.” Hearth and Home Witchcraft explores the following topics: rituals for protection and cleansing the hearth and home kitchen witchery, creating a kitchen altar, and recipes and rituals for nourishment the witch’s altar, tools, and spells, and creating a sacred space, no matter the size of the home herbs and plants, grounding rituals, and meditations to connect you with the earth witchy self-care, complete with rituals and recipes for ritual bath salts, oils, balms, and more

Shamans walking on knives, fairies riding on clouds, kings with dragon mounts: They are gods and they are paper images. Some are repulsed and unsettled by shaman paintings, some cannot stop collecting them, and some use them as sites of veneration. Laurel Kendall, Jongsung Yang, and Yul Soo Yoon explore what it is that makes a Korean shaman painting magical or sacred. How does a picture carry the trace of a god and can it ever be “just a painting” again? How have shaman paintings been revalued as art? Do artfulness and magic ever intersect? Does it matter, as a matter of market value, that the painting was once a sacred thing? Navigating the journey shaman paintings make from painters’ studios to shaman shrines to private collections and museums, the three authors deftly traverse the borderland between scholarly interests in the material dimension of religious practice and the circulation of art. Illustrated with sixty images in color and black and white, the book offers a new vantage point on “the social life of things.” This is not a story of a collecting West and a disposing rest; the primary collectors and commentators on Korean shaman paintings are South Koreans re-imagining their own past in light of their own modernist sensibility. It is a tale told with an awareness of both recent South Korean history and the problematic question of how the paintings are understood by different South Korean actors, most particularly the shamans and collectors who share a common language and sometimes meet face-to-face.

In the summer of 1987 on my way to California I visited a friend in New York. He invited me to accompany him to Pineridge Reservation in South Dakota where he planned to go on a traditional vision quest, and this journey changed my life. I lived in Berlin, Germany at the time and had been suffering since 4 years from severe panic attacks. After participating in a wonderful healing ceremony for a little girl who had been born with panic in her soul, and could never be approached by anyone but her mother, and who now smiled radiantly at us, free of fear - after this miracle the medicine man offered to do a ceremony for me. I was surprised. Why, did I need a healing? So used was I to my suffering that I could not imagine why I should need any help. And besides, out there on the reservation there was so much going on that was new and miraculous for me that I never had a panic attack. But since I did not want to disappoint him after this generous offer I agreed, and after the ceremony he conducted I never suffered another panic attack. In addition the book contains the medicine man's story, the fascinating account of a vision quest, and the very touching story of a man who was healed from Hodgkin's Disease after his doctors had given up on him.

A white bone brush, drawing out all the forms in the world. It was a piece of brown paper, stating that the world was clean and turbid. Grandfather is a painter, but what he drew wasn't what you could see ... Fusheng new work, please support! It was 8 AM, 10 PM, and 12 PM. Please look forward to it! Fushe's new book is open. "Metamorphosis", please pay attention!

After having a near-death experience in 1991, author Jane Voneman decided to pursue her magic within by tapping in to her psychic abilities and paying attention to synchronicities and events that helped her to heal after many years of struggling with health. She saw an angel, and this was the first among many experiences that made her realize that there was more to life than this earthly existence. After having psychic dreams and seeing people in the spirit world, she decided to make a living as a psychic and medium. She had a vision quest, Native American style, that opened her up to a whole realm of paranormal activity. Her constant reminder in this book is that you can experience magic in your life and manifest your dreams and goals by thinking and watching how you speak. Jane realized through many life experiences herself that there is some inner kind of magic that we all are capable of tapping in to.