Killing the Indian Maiden examines the fascinating and often disturbing portrayal of Native American women in film. M. Elise Marubbio examines the sacrificial role in which a young Native woman allies herself with a white male hero and dies as a result of that choice. In studying thirty-four Hollywood films from the silent period to the present, she draws upon theories of colonization, gender, race, and film studies to ground her analysis in broader historical and sociopolitical context and to help answer the question, “What does it mean to be an American?” The book reveals a cultural iconography embedded in the American psyche. As such, the Native American woman is a racialized and sexualized other. A conquerable body, she represents both the seductions and the dangers of the American frontier and the Manifest Destiny of the American nation to master it.

“A funny, sexy, stylistically elegant, tongue-in-cheek rewriting of history” from the New York Times–bestselling author of City of Night (Booklist). A retelling of the stories of the fallen women of history, recounted by an eighteenth-century lady who realizes that these women’s lives bear a remarkable resemblance to her own. Told by a mystic that her dreams are memories of past lives, she must face the public to vindicate all women falsely accused of crimes. “Mr. Rechy’s renditions of these seemingly familiar stories can . . . be surprisingly fresh, creating an ominous sense of tragedy and doom.” —The New York Times Book Review “With a colorful ribbon of feminist revisionism festooning its New Age wrapping, Rechy’s latest novel indulges in past-life grandiosity and some scandalous speculation about the erotic lives of Adam, Medea and Jesus, among others.” —Publishers Weekly “Subversive and quite funny . . . A fictional absolution of women known historically as ‘whores’ . . . framed by a deadly serious look at erotic history and a formidable exploration of the power of words and their interpretation to alter our existence.” —Booklist “Rechy writes gracefully, and sometimes poignantly, of the fate of fallen women over the centuries.” —The Washington Post

All that has happened in the past, all of Earth's history, man has created in his dream. and the end of time will come when man wakes up and realizes he has been dreaming. Suddenly, a young family wrests themselves from life in a North American city to seek a rustic existence close to nature and a circle of new friends in mountain valleys of British Columbia. But that is only one of the levels to this story. For David and Kelly (Siofra) are a mystic and a psychic on an out-of-the-ordinary quest inspired by higher energy presences, Moita and Amar. How will their experiment in communication between worlds illuminate the process of planetary rebirth that will accelerate years later . . . in the "awakening" of 2012 and beyond? "This time period is at crossroads. Paths before you lead into the future—some not pleasant, some extremely promising. We are here to help you choose the road that leads not to destruction but that leads to life, and to this change of man and his awareness, to the reuniting of [our] worlds." Among facets of this visionary yet down-to-earth adventure: helping persons in crisis to unlock their hearts, find their new balance, deepening our sense of community as a core group risks old selves in order to truly meet, confronting dark energies across lifetimes, undoing man's obsession with power, seeing that the planet's upheavals now mirror our own—as a vast evolution in consciousness comes full circle, aided by higher-dimensional beings, and the Earth Mother voicing her plea for man to awaken as a willing partner. "We are entering a New Age of humanity. Instead of man creating only on his own, set apart from the rest of the universe, this time he is involved in a co-creation—and we are the co-creators. Those who are here have arrived to help found a new world."

Who can ever get enough of Jane Austens Pride and Prejudice? Who doesnt dream of strolling through stately shrubberies? Of reveling in Regency lorewhere luxury is silken, manners are refined, and the language reflects exquisite sensitivities and a decorum whose bonds we have managed to escape, yet we still find charmingly quaint? Dreaming Pemberley is a mini-saga composed of four dreams that carry the Bennets, Darcys, Collins, and their friends forward in their lives through two generations. Their journeys are fraught with painful detours and misunderstandings, and they are forced to grapple with character flaws as well as dastardly acquaintances. At one point, a member of the Collins household is deemed a witch! In the fourth dream, the famed equanimity of Pemberley is threatened by a disruptive cat. However, felicity and redemption are persistent threads, and we rejoice when Anne de Bourghs personhood is allowed to blossom, even though Lady Catherine de Bourgh feels strongly abused. Mystery and surprise are found at various twists and turns. Georgianas fate is beyond belief. And the late Mrs. Darcys long-locked tea room engenders a renown that spreads as far as Londonmuch to Mr. Darcys chagrin. Over all, the gracious gentility that pervades Pemberley is a force for good and does much to soothe hearts and hurts.

In one of his letters Hart Crane wrote, "Appollinaire lived in Paris, I live in Cleveland, Ohio," comparing—misspelling and all—the great French poet’s cosmopolitan roots to his own more modest ones in the midwestern United States. Rebelling against the notion that his work should relate to some European school of thought, Crane defiantly asserted his freedom to be himself, a true American writer. John T. Irwin, long a passionate and brilliant critic of Crane, gives readers the first major interpretation of the poet’s work in decades. Irwin aims to show that Hart Crane’s epic The Bridge is the best twentieth-century long poem in English. Irwin convincingly argues that, compared to other long poems of the century, The Bridge is the richest and most wide-ranging in its mythic and historical resonances, the most inventive in its combination of literary and visual structures, the most subtle and compelling in its psychological underpinnings. Irwin brings a wealth of new and varied scholarship to bear on his critical reading of the work—from art history to biography to classical literature to philosophy—revealing The Bridge to be the near-perfect synthesis of American myth and history that Crane intended. Irwin contends that the most successful entryway to Crane’s notoriously difficult shorter poems is through a close reading of The Bridge. Having admirably accomplished this, Irwin analyzes Crane’s poems in White Buildings and his last poem, "The Broken Tower," through the larger context of his epic, showing how Crane, in the best of these, worked out the structures and images that were fully developed in The Bridge. Thoughtful, deliberate, and extraordinarily learned, this is the most complete and careful reading of Crane’s poetry available. Hart Crane may have lived in Cleveland, Ohio, but, as Irwin masterfully shows, his poems stand among the greatest written in the English language.

Four favorite Disney princesses--Snow White, Cinderella, Sleeping Beauty, andAriel--are featured in this coloring book