Do you know who you are? Are you comfortable in your skin? Outed by her best friend in front of the whole neighborhood, Niya is trying to come to terms with being a lesbian. When she falls for her straight neighbor, Jamilla, there is no more denying who she really is. Niya will do whatever it takes to prove her love, even if it means taking a life. What will happen when family issues, fame, the struggle for love, and reality set in? How will Niya deal with a Hip-Hop career as she tries to repair her broken heart and family issues? Signing to Green Note Records may just bring fulfillment and love when the sexy R&B diva Brazil Noelle swoops in and aims for her heart. Niya has always been the hero, but is she willing to be saved? Will her feelings for Jamilla block what could actually be her chance to get back the love she always gives? Jamilla is drowning in the reality of her home life. Forced to face a real life monster on a daily basis, the shame of her past is slowly killing everything beautiful about her. Just when she thinks life isn't worth living, she befriends Niya and becomes confused by the extremely close, nconventional friendship, and the high sexual tension that sends her head spinning. Will her fling with a male “straighten” her out for good, or will it help her to realize that love has no boundaries? How long can this game of friendship last when love is the stronger opponent? Join the tormented twosome on an undeniable thrill ride as they travel down the rocky road of self-discovery. Niya and Jamilla will combat their fears, violence, distractions, extortion, love, denial, family, and sometimes each other, in this emotionally charged and action-packed coming of age tale.

Strong women dominate these reminiscences: the grandmother taught the girl whose mother refused to let her go to school, and the life-changing events they witnessed range from the ravages of the influenza epidemic of 1918–20 and murder committed in a jealous rage to the abduction of a young woman by underground spirits who on her release grant her healing powers. A highly personal document, these memoirs are altogether exceptional in recounting the thoughts and feelings of a Cree woman as she copes with the challenges of reserve life but also, in a key chapter, with her loneliness while tending a relative’s children in a place far away from home – and, apparently just as debilitating, away from the company of other women. Her experiences and reactions throw fresh light on the lives lived by Plains Cree women on the Canadian prairies over much of the twentieth century. The late Sarah Whitecalf (1919–1991) spoke Cree exclusively, spending most of her life at Nakiwacîhk / Sweetgrass Reserve on the North Saskatchewan River. This is where Leonard Bloomfield was told his Sacred Stories of the Sweet Grass Cree in 1925 and where a decade later David Mandelbaum apprenticed himself to Kâ-miyokîsihkwêw / Fineday, the step-grandfather in whose family Sarah Whitecalf grew up. In presenting a Cree woman’s view of her world, the texts in this volume directly reflect the spoken word: Sarah Whitecalf’s memoirs are here printed in Cree exactly as she recorded them, with a close English translation on the facing page. They constitute an autobiography of great personal authority and rare authenticity.

A comprehensive, one-year introductory textbook for Tagalog, the language spoken in the Philippines. Beginning Tagalog has been designed to meet the specific needs of adult native speakers of English who wish to learn spoken Tagalog, though students with other language backgrounds may be able to follow the course with profit. With fairly intensive class scheduling, and assuming laboratory assignments and home study, the text can be covered in one academic year. The text is designed to accomplish two aims. The first is to impart oral control of Tagalog and, by means of an acquaintance with the major patterns of the language, to provide the means for additional independent study that will lead to a full mastery of the structures and a vocabulary that is sufficiently broad to meet the needs of most students. The second aim is to provide accurate, up-to-date information about the patterns of Filipino culture that will enable a student to understand the social customs, standards, values, and aspirations of the Filipino people, in order to prepare him for sympathetic, enlightened, and useful participation in the context of Filipino society. . . . The text consists of 25 units and appendices. In the first half of the text, the student plays the part of hearer and speaker, with only incidental reading of oral dialogs and drills. From Unit XIII on there is a reading section designated for each unit, correlated with the primarily spoken materials, but designed to promote facility in the orthography and distinctive patterns of the written language. . . The basic format is as follows: A. Basic Dialog B. Cultural and Structural Notes C. Pronunciation Exercises (to Unit XIII) D. Drills and Grammar E. Cumulative Drills F. Visual-Cue Drills G. Comprehension-Response Drills H. Readings (from Unit XIII)"

A comprehensive, one-year introductory textbook for Tagalog, the language spoken in the Philippines. Beginning Tagalog has been designed to meet the specific needs of adult native speakers of English who wish to learn spoken Tagalog, though students with other language backgrounds may be able to follow the course with profit. With fairly intensive class scheduling, and assuming laboratory assignments and home study, the text can be covered in one academic year. The text is designed to accomplish two aims. The first is to impart oral control of Tagalog and, by means of an acquaintance with the major patterns of the language, to provide the means for additional independent study that will lead to a full mastery of the structures and a vocabulary that is sufficiently broad to meet the needs of most students. The second aim is to provide accurate, up-to-date information about the patterns of Filipino culture that will enable a student to understand the social customs, standards, values, and aspirations of the Filipino people, in order to prepare him for sympathetic, enlightened, and useful participation in the context of Filipino society. . . . The text consists of 25 units and appendices. In the first half of the text, the student plays the part of hearer and speaker, with only incidental reading of oral dialogs and drills. From Unit XIII on there is a reading section designated for each unit, correlated with the primarily spoken materials, but designed to promote facility in the orthography and distinctive patterns of the written language. . . The basic format is as follows: A. Basic Dialog B. Cultural and Structural Notes C. Pronunciation Exercises (to Unit XIII) D. Drills and Grammar E. Cumulative Drills F. Visual-Cue Drills G. Comprehension-Response Drills H. Readings (from Unit XIII)"

"At a time when each Society had its own medium of propogation of its researches ... in the form of Transactions, Proceedings, Journals, etc., a need was strongly felt for bringing out a journal devoted exclusively to the study and advancement of Indian culture in all its aspects. [This] encouraged Jas Burgess to launch the 'Indian antiquary' in 1872. The scope ... was in his own words 'as wide as possible' incorporating manners and customs, arts, mythology, feasts, festivals and rites, antiquities and the history of India ... Another laudable aim was to present the readers abstracts of the most recent researches of scholars in India and the West ... 'Indian antiquary' also dealt with local legends, folklore, proverbs, etc. In short 'Indian antiquary' was ...entirely devoted to the study of MAN - the Indian - in all spheres ... " -- introduction to facsimile volumes, published 1985.