Selby the Talking Dog is turning thirty, and this special edition contains the first three titles in the Selby series (SELBY'S SECRET, SELBY SPEAKS and SELBY SCREAMS) that take us back to Selby's early days and where it all began. Ages: 7+

David Cecelski chronicles one of the most sustained and successful protests of the civil rights movement--the 1968-69 school boycott in Hyde County, North Carolina. For an entire year, the county's black citizens refused to send their children to school in protest of a desegregation plan that required closing two historically black schools in their remote coastal community. Parents and students held nonviolent protests daily for five months, marched twice on the state capitol in Raleigh, and drove the Ku Klux Klan out of the county in a massive gunfight. The threatened closing of Hyde County's black schools collided with a rich and vibrant educational heritage that had helped to sustain the black community since Reconstruction. As other southern school boards routinely closed black schools and displaced their educational leaders, Hyde County blacks began to fear that school desegregation was undermining--rather than enhancing--this legacy. This book, then, is the story of one county's extraordinary struggle for civil rights, but at the same time it explores the fight for civil rights in all of eastern North Carolina and the dismantling of black education throughout the South.

Chauncey de Leon Canfield (1843-1909) first published "The diary of a forty-niner" in 1906, and 1,200 of the 2,000 copies in that edition were burned. Joseph Gaer's Bibliography of California literature describes this book as written in the form of a diary, but fictional. The diary of a forty-niner (1920) reprints Canfield's 1906 publication. It purports to be the diary of Alfred T. Jackson, of Litchfield County, Connecticut, during his days as a gold prospector, 1850-1852. Jackson offers first-hand accounts of Nevada City and neighboring Rock Creek; descriptions of Grass Valley, North and South Yuba Valleys, and the Sierra Mountains; details of gold mining with accounts of pioneer overland crossings, and foreign mineworkers (including Chinese). Entries concerning Jackson's personal life include details of his courtship of a French woman in the camps.

Rewatching on the Point of the Cinematic Index offers a reassessment of the cinematic index as it sits at the intersection of film studies, trauma studies, and adaptation studies. Author Allen H. Redmon argues that far too often scholars imagine the cinematic index to be nothing more than an acknowledgment that the lens-based camera captures and brings to the screen a reality that existed before the camera. When cinema’s indexicality is so narrowly defined, the entire nature of film is called into question the moment film no longer relies on a lens-based camera. The presence of digital technologies seemingly strips cinema of its indexical standing. This volume pushes for a broader understanding of the cinematic index by returning to the early discussions of the index in film studies and the more recent discussions of the index in other digital arts. Bolstered by the insights these discussions can offer, the volume looks to replace what might be best deemed a diminished concept of the cinematic index with a series of more complex cinematic indices, the impoverished index, the indefinite index, the intertextual index, and the imaginative index. The central argument of this book is that these more complex indices encourage spectators to enter a process of ongoing adaptation of the reality they see on the screen, and that it is on the point of these indices that the most significant instances of rewatching movies occur. Examining such films as John Lee Hancock’s Saving Mr. Banks (2013); Richard Linklater’s oeuvre; Paul Greengrass’s United 93 (2006); Oliver Stone’s World Trade Center (2006); Stephen Daldry’s Extremely Loud and Incredibly Close (2011); and Christopher Nolan’s Dunkirk (2017), Inception (2010), and Memento (2000), Redmon demonstrates that the cinematic index invites spectators to enter a process of ongoing adaptation.

This book consists of over 30 profiles: half of which are favourites from his web site, the other half are never-before-seen shots selected exclusively for the book. Australian content.